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Premier soloist James Ihde bids farewell with ‘Diamonds’

May 13 on the Academy stage ~ Lillian DiPiazza & James Ihde in Diamonds photo: Arian Molina Soca

Red roses sailed over the Academy of Music stage on May 13 landing at the feet of Pennsylvania Ballet soloist James Ides, retiring from the company after 25 seasons, a favorite with audiences and three generations of PABallet dance artists. Ihde’s career with the company is almost unparalleled & he is has continued to dance in top form in his final seasons.  His swansong dance is indeed one of the most demanding roles for a danseur, the male lead in George Balanchine’s ‘Diamonds.’  It was suggested to Ihde by PAB artistic director Angel Corella and in his final performance James would partner prima ballerina Lillian Di Piazza.

Back to those roses in a moment, but first, there the matinee performance of Balanchine’s trilogy “Jewels”~  ‘Emeralds’, ‘Rubies’ and ‘Diamonds’~  representing a range of neoclassical choreography.   The dramatic glittery backdrops and sumptuous costumes by Karinska elicited applause and wows as the curtain went up on each one.  Much credit goes to Balanchine Trust repetiteur Elyse Borne’s for her technical precision and distinct musicality she brings to each ballet in this revival.

‘Emeralds’ is scored to music by Gabriel Fauré and is one of Balanchine’s most decorative ballets, and at its best as it was in this performance, a haunted mystique.  Karinska’s costumes have the mens in velvet emerald doublets and the women in pale green tulle ballet skirts.

Both lead couples, Yuka Iseda-Jermel Johnson and So Yung Shin- Jack Thomas,  captivating in their technical artistry.  The featured trio also proved a dazzling mise-en-scene for corps dancers Alexandra Heier, Emily Davis and Ashton Roxander.  Affron brought forth all of the lyrical mystique of Faure, and among the sterling soloists principal violinist Luigi Mazzocchi, harpist Mindy Cutcher, oboist Nick Masterson & cellist Jeannie Lorenzo.

‘Rubies’ is Balanchine is another defining collaboration with composer Igor Stravinsky and an undisputed masterpiece.  The propulsive drive of Stravinsky’s ‘Concerto for Piano and Orchestra’ inspiring Balanchine to break out of his own signatures and conventions. ‘Rubies’ choreo in a completely different choreographic key for Balanchine, so different from the austerity of his most famous modernist ballets. It’s witty and wry choreography that leaves room for liberated interpretation by the dancers. And lead couple Ian Hussey and Oksana Maslova revel in its propulsive virtuosity as a most fiery balletic romp. Balanchine’s angling the choreography in counterpoint to the Stravinsky dominant piano solos. played with breathtaking command by PAB pianist Martha Koenemann.

And the third lead, a breakthrough role for PB apprentice Sydney Dolan. Commanding technical artistry and star power. Five men are in position to move her around in arabesque variations, a dancer version of the ‘facets’ to a ruby’s inner ‘fire.’  And really that concept extended, in this performance to the corps women,  who throughout with sharp ensemble pointe & (counter)pointe work.

James Ihde about to launch his final performance (photo: Arian Molina Soca)

Then it was all about ‘Diamonds.’ The anticipation for James Ihde entrance was building during the extended corps de ballet scene that opens Balanchine’s ‘Diamonds’ his glittering distillation of  Imperial Ballet classicalism set to the sonic waves of Tchaikovsky’s Symphony No. 1.  when they finally exit and then the burst of applause as Ihde and partner Lillian DiPiazza make their entrance,   Di Piazza and Ihde have radiant chemistry together from the start.  Ihde had a few tentative moments and completely pitched out of grand pirouettes, but, powered through, with incredible authority and artistry.

His jete circle nicely paced. DiPiazza’s steely pointe work and subtle expressiveness make this an indelible partnering. The full corps de ballet executing the crucial unison ensemble work without looking mechanical. And this was another opportunity for Corella to showcase what has been developing all season, a more uniform strength in the mens corps.

The curtain coming down on the full company ensemble grande processionale by Balanchine and DiPiazza and Ihde the glittering center. And then it was all over, the applause building as the curtain came back up on Ihde alone on the Academy stage for several moments that were, indeed, like an intimate, a once in a lifetime moment with an old friend…

James Ihde final bow

photos: Beverly Wexler

 

…As the current roster of PABallet dancers came onstage with roses & heartfelt embraces. Many of James’ former dance colleagues were there to bid him farewell including  legendary founder of Pennsylvania Ballet Barbara Weisberger, who was a protégé of Balanchine dating back to the 30s when she was the youngest dance student in his class.

A most memorable moment as Conductor Beatrice Jona Affron came onstage to take a bow with Ihde. Affron has been conducting  PABallet Orchestra since the early 90s, in fact, as long as James’ tenure.  And without doubt, this performance of Tchaikovsky, Faure and Stravinsky has to be among the finest programs this orchestra has ever played.

PABallet founder Barbara Weisberger & James Ihde (courtesy PAB)

Artistic director Angel Corella presented Ihde with a bouquet and champagne as confetti and more roses sailed out from the orchestra pit during the 20 minutes of lusty applause for a great contemporary danseur, an indelible dancer in this and many another ballet season to remember.

PhillyDanceMetros

BalletX dances for Spring

It still might be cold outside but BalletX dancers are already burning the floor at the Wilma Theater in an otherwise chilly Philly. Where else but BalletX can you hear the sizzling mambo of Tito Puente, Marvin Gaye’s ultimate 70s dance groove “Got to Give It Up” and the classical fire of live musicians from the Curtis Institute performing onstage with the dancers.

Opening the concert is choreographer Darrell Grande Moultrie ‘Vivir’ scored to Latin jazz and salsa music that he loved hearing growing up in Spanish Harlem. From the driving acoustic guitar of Rodrigo y Gabriela to the sultriest orchestrals by Tito Puente, Grand Moultrie fusion of ballet pointe work and salsa.

(All photos by Bill Hebert)

Gary W. Jeter in Gran Moultrie’s ‘Vivir’

Dancers fly on and offstage, joining each other in pulsing ensemble configurations, trio and duets. Gary Jeter remains onstage and dancing a soul searching solo to Bebo B. Cigala’s bittersweet ballade Eu Sei Que Vou Te Amar. Gary Jeter and Francesca Forcella frequent partners lead the sensual, fluid motion duets

Matt Neenan’s premiered ‘Increasing’ in 2014 at Vail International Dance Festival with the company joined by New York City Ballet guest stars Tiler Peck and Robert Fairchild. The ballet looks just as good in its Philadelphia premier with the BX roster dancing those solo sections and joined by the stellar musicians from the Curtis Institute of Music on stage with them performing Schubert’s String Quintet C Major.

In flamenco it is called duende and the synergy when dancers are in the direct zone of live musicians, and the ballet is exemplar of the potential of that dynamic as well.  Neenan’s choreography so inspired by the propulsion and introspection of Schubert’s chamber music, more than any implied narrative. The ensemble in quicksilver configurations that flock and scatter. Neenan punctuating with aerial variations and liberated pointe work.

Jenny Winton & Zachary Kapeluck  Neenan’s ‘Increasing’

Caili Quan’s mach speed pirouette entrance with her arms sculpted close to her sides. Quan and Skyler Lubin in a jaunty balletic unison duet and Richard Walters and Roderick Phifer in their own mirroring duet. The push-pulls of the violin interplays of Eunic Kim and Piotr Filochowski as hypnotic as the dancing. And this is a Neenan signature to keep the music an equal element on the dance stage.

Flash dance partnering spring from the taut string dialogue between the violins, then another dancer may fly on and pick up the undercurrent bassline by cellists Glenn Fischbach and Branson Yeast, or the counterpoint of violist Yoshihika Nakano. Kudos to former Pennsylvania Ballet II and Joffrey dancer Jenny Winton for subbing for company member Chloe Perkes who is recovering from an injury.

Roderick Phifer in McIntyre’s ‘Boogeyman’

Trey McIntire scored a huge hit “Big Ones” set to a song cycle by the late R&B singer Amy Winehouse, but as cleverly idiosyncratic his choreography was, it didn’t emotionally connect to the music in key ways. McIntyre’s “Boogeyman” does. There is an esprit, wit and a floating narrative of a young man expressing himself via the music to 70s pop hits. Roderick Phifer is alone in his bedroom plugged into his bulky headphones (I know, who would have guessed that they would be back) that turns into a witty, joyous, bittersweet drama of a breakup between enacted by dancers Roderick Phifer and Andrea Yorka.
Phifer has period headphones on hunched over and start some unhooked moves to one of the club megahits starting with Gaye’s ‘Got to Give it Up.

‘Boogeyman’ BXers

Phifer explodes into full on funk moves punctuated with vaults and somersaults over his bed. A quartet of partiers saunter on, they are dressed in 70s show drag and McIntyre revives Soul Train dance line moves with witty samplings of proto-break, robotic and wave choreo and who can forget those deep plié gyrations. As they funk down the line, Andrea Yorita and Phifer circle a phonebooth that might be the scene of their breakup. off and Andrea Yorita is in a state of catatonia in the bed but starts to express the angst sung out by Leo Sayer’s heartbreaker ‘Alone Again Naturally.’ Later Phifer and Yorita dance their fated lover’s tale to Stevie Wonder’s soul search lovers’ ballade ‘Never Dreamed You’d Leave Me In Summer.’ Earth, Wind and Fire’s ‘September’ party on luster  is McIntyre’s liberated dancing that soars in the bodies of this ensemble.