Miami City Ballet dancers in Baker’s Dozen.(Photo by Kyle Froman)
Editor’s note: This story has been updated to correct factual errors.
By Rex Hearn
Twenty-five years can be like a lifetime for a ballet company.
First there were the early struggles with fundraising, performing without an orchestra, then finding the corps de ballet, the soloists, the prima ballerinas and the male danseurs. Plus administrators, ballet teachers, accountants and yes, even doctors specializing in bone injuries.
It’s exhausting, but the Miami City Ballet has overcome all these obstacles, and in this short space of time become one of the leading classical dance companies of America, and perhaps even the world.
As a 16-year-old in England I saw the Sadler’s Wells Ballet with Margot Fonteyn and Robert Helpmann, then saw Alicia Markova and Anton Dolin at The Festival Ballet. I followed the fortunes of England’s newly formed Royal Ballet, where the men were challenged by asylum-seeker Rudolf Nureyev, and Dame Margot was given new life with his partnering.
Coming to America, I was fortunate to catch Edward Villella’s Prodigal Son, a performance that stays in my mind to this day. Now Villella heads this remarkable troupe, which he started at the invitation of Toby Ansin some 25 years ago. It is a great achievement in any man’s lifetime. In England, he would have been knighted for his efforts.
Miami City Ballet, a company I have watched over the years, has had an orchestra on and off for the first 25 years, but they were too good to be dancing to recordings. Thanks to the generosity of a three-year grant from the John S. and James L. Knight Foundation, they now have a first-class orchestra (called Opus One) of 52 players, and a fine conductor in Gary Sheldon.
Jennifer Kronenberg and Carlos Guerra in La Sonnambula.(Photo by Kyle Froman)
The program I saw Sunday at the Kravis Center included four short ballets.
First was La Sonnambula (The Sleepwalker), danced by Jennifer Carlynn Kronenberg, a principal dancer since 2001. Hers is a name to remember. With stunning features, her technique was flawless as she gracefully sped backwards en pointe, many times with candle in hand, delicately spun around by The Poet, danced by Yann Trividic, a fine, sensitive partner.
Amanda Weingarten’s Coquette was just that, coquettish. Isanusi Garcia-Rodriguez was the commanding Baron. Outstanding were Tricia Albertson and Michael Sean Breeden in the Oriental Pas de Deux. And Kleber Rebello’s Harlequin was brilliant in his leaps, his splits and his fake crankiness. Newly promoted to the corps from company apprentice, he, too, is surely one to watch.
Applause greeted the corps de ballet in their beautiful costumes designed by Theoni Aldredge. Set design was by Zach Brown, and the music by Victor Rieti, based on themes by Vincenzo Bellini. And the smooth-as-silk choreography was by the late George Balanchine, Villella’s mentor and friend from the years he danced at New York City Ballet.
Mary Carmen Catoya and Kleber Rebello in Diana and Actaeon.(Photo by Kyle Froman)
In stark contrast, Twyla Tharp’s exciting Baker’s Dozen brought 12 gifted youngsters on stage, dressed in white. This nonstop ballet, set to music by Willie “The Lion” Smith, had every move conceivable. Sheer delight shone from every dancer’s face as they teamed up for duets, trios, quartets and sextets. Everything was fresh, new and unique, which is what we expect from this brilliant choreographer.
Diana and Actaeon followed, a pas de deux danced by Mary Carmen Catoya and Rebello, the Harlequin from Sonnambula. Rebello astonished with magnificent leaps that made him seem to hang in air. With a great sense of timing, he is a strong, agile, athletic and graceful dancer, reminiscent of a young Villella.
Catoya, however, appeared ill-at-ease at times, and out of sync with the music. But when she was “on,” she was lovely.
George Balanchine’s Western Symphony ended the program. It is said he got the idea to do a cowboy ballet from wearing string ties, frontier fashion. My bet is that he itched to lay down the gauntlet to Agnes DeMille’s Rodeo, given years earlier with music by Aaron Copland.
Patricia Delgado and Yann Trividic in Western Symphony.(Photo by Kyle Froman)
Choosing veteran Broadway orchestrator Hershy Kay to write a score based on tunes such as Good Night, Ladies and Red River Valley was smart. But Balanchine’s ballet doesn’t have the verve or excitement of DeMille’s work. It is more refined, more elegant, in the style of ballets at the court of the Sun King, Louis XIV.
In the Allegro, Tricia Albertson was superb. Didier Bramaz had great charm and winning ways in the Adagio. Pretty Zoe Zien did great point work in the Scherzo and Stephen Satterfield was her excellent partner.
In the finale of the Rondo, Kronenberg, the Sleepwalker of the first ballet, was very good once again. Her partner, Carlos Miguel Guerra, was light of foot and carefully attentive. Western Symphony ends with a magnificent, virtuosic display of company dancing, and on Sunday, it was disciplinary togetherness at its best.
Happy Silver Jubilee, MCB. And kudos to you, Sir Edward.