I appreciate what Lincoln Center and The New York City Ballet are trying to do with showing filmed versions of ballets, including Balanchine's, if even they are an inadequate substitute for the real thing they do have considerable value, especially for seeing dancers long retired and being able to study the endless complications of Balanchine's choreography. And now that I am again taking (virtual) ballet classes it inspires me to see dancing at this incredible level of speed and attack.
I don't have a great deal to add about A Midsummer Night's Dream that I haven't already said in my previous posts about it (May 28 2016, May 28 2017, June 1 2019). I still do regret that Balanchine ended up shortening the second act but the 1986 version did include the wonderful divertissement, here danced exquisitely by Adam Luders and Merrill Ashley, with Ashley seeming to float through the air as Luders seems to effortlessly lift her. The first act, of course, follows Shakespeare's play closely, with dance and gestures and mime. The playful Puck was energetically danced by Jean-Pierre Frohlich and the children from the school were delightful as the busy butterflies. Ib Andersen was a noble Oberon to Maria Calegari's Titania and Jock Soto was an impressive cavalier. In the first act I was particularly impressed with Victoria Hall as Hippolyta and her grand jetes, as well as the simple beauty of her just standing, with her leg devant, beautifully turned out with pointed foot.
Balanchine used the music of Mendelssohn brilliantly, not only the incidental music for the play, but four additional works by the composer. The superb conducting was by Robert Irving.
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