It’s onerous to tear your self away from New York Metropolis Ballet simply now, particularly from its many wonderful ballerinas. The corporate, virtually midway via its four-week fall season, is being characteristically bounteous with repertory by its founder-choreographer, George Balanchine, which in flip is bounteous with ballerina roles. A number of of the ladies forged in Balanchine elements are too tame, too weak, too passive; however all of the troupe’s three ranks (principal, soloist, corps) include ladies whose vivid individuality excites. Two particularly — Tiler Peck and Sara Mearns — set peak requirements of musicality that enrich your complete artwork, displaying the mysterious connection between area and music at its most fascinating.
Ms. Peck, a prodigious virtuoso whose musicality is her most famous asset, final week made her debut within the central position of the Mozart basic “Divertimento No. 15.” These coloratura legs and ft of hers present how her present for musical rubato is related to the talent of her method. She has power and time to anticipate the beat, to hover inside it, to reach a micro-moment after it, all inside the top-speed cascade of a single phrase, and she or he has the assault to make every step arrive with fantastic drive.
There’s a contact of calculation in her response to music. You possibly can spot the moments when she appears to be saying, “Watch how I play with my music right here.” Such nudging, by making an attempt to separate the dancer from the dance, diminishes each. But who might miss how she makes the steps radiate? They appear to offer off halos of sunshine. She’s additionally been dancing the lead in “Symphony in Three Actions,” a task she delivers admirably with out its notably suiting her. It’s bigger and extra mysterious than she is. However she’s clever. Every time she performs a task, you are feeling her various her strategy.
When “Jewels” returned to repertory on Wednesday, she introduced a brand new impetuousness to her half in “Emeralds,” contrasting the push of the music with moments of arrival. The conductor was the music director Andrew Litton, who this season has been tackling seven Balanchine ballets, all for the primary time. He’s marvelously propulsive. Ms. Peck, greater than most, is provided to rise to the problem of latest musical dynamics.
In Ms. Mearns, the corporate has a Romantic-dramatic ballerina of such depth, depth and bravura that folks typically overlook her musicality. She’s been dancing the “Rosenkavalier” part of “Vienna Waltzes,” the Bach Ricercata finale of “Episodes” and the heroic central position of “Diamonds”; on Thursday her debut in “Stravinsky Violin Concerto,” Aria I, was characteristically ardent.
Her dancing’s scale is all the time immense, its texture wealthy, its phrasing magisterial. She, higher than another dancer at present, unlocks the bigger dimensions of Balanchine dance theater. Her motion appears to cost nice blocks of air with power all through each stage and auditorium, power that appears channeled instantly from the music.
That is mysterious stuff to speak about — and but it’s straightforward to really feel it within the presence. Her impact was at its most profound on Sunday afternoon in “Episodes” (carried out by Andrews Sill), a seemingly easy position. With austere purity, she made the Bach-Webern rating really feel each like a drama of sunshine and sculpture in movement. In “Diamonds” on Wednesday, it was fantastic to really feel the agency lengths of her phrases. This ballerina turns into a mirror of the conductor. In contrast to him, she faces us. Like him, she makes no sound, however provides form to music and sends it beaming forth.
After having a child, Ashley Bouder, the corporate’s foremost powerhouse, returned final week within the “Voices of Spring” scene of “Vienna Waltzes.” Although she’s been offstage solely 9 months however the affectionate high quality of her dancing was one thing new. Her position in “Rubies” is harder; on Wednesday she had misplaced some precision, which it’s possible she’ll quickly regain. What she has not misplaced is twinkle, assault, swagger; it was terrific to see that performing bravado again in motion.
In “Jewels,” probably the most definitive efficiency of all stays Teresa Reichlen’s because the central soloist in “Rubies.” Commanding, dark-glinting, naughty, she can also unlock area; the excessive sweep of these lengthy legs has a drive that sails far out into the theater. Sterling Hyltin and Robert Fairchild’s partnership in “Stravinsky Violin Concerto” is probably the most felicitous in New York dance; the extraordinary drama they reveal within the Aria II duet is so double-edged that it retains deepening its plaintive spell.
Ms. Hyltin, Ashley Isaacs, Ashley Laracey and Indiana Woodward have been all distinctive in “Divertimento No. 15” final week (Ms. Woodward — all brio — has been profitable in a number of different roles); and Unity Phelan was effortlessly poetic within the Concerto (Op. 24) of “Episodes.” No marvel some balletomanes hate to overlook a efficiency.