Viscera
It is an event to attend a Miami City Ballet (MCB) performance at the Adrienne Arsht Center. As the flagship dance institution in Miami, MCB delivers what is needed to entice, activate and excite an audience, which encompasses a flurry of diverse and eclectic people, from the socially conscious to the youthful dance student. On Saturday night, the Arsht Center had a buzz of activity with gifts given in one room, patron gatherings in another, discussions about the past and the present — and an overall enthusiasm about what actions are possible: How the company will evolve, how MCB will lead the city of Miami, and how the dancers will grow under the caring and experienced guidance of Lourdes Lopez, now starting her third year as Artistic Director.
In celebration of 30 years, the opening night performance at the Arsht carried all of this excitement in the presentation of Program One, which included George Balanchine’s one act version of Swan Lake, Liam Scarlett’s edgy Viscera, and Jerome Robbin’s Fancy Free. Live music under the baton of Gary Sheldon added tremendous dimension.
Fancy Free
Swan Lake, first performed 120 years ago in1895 to the magnificent Tchaikovsky score, is usually presented as a full-length ballet in versions of the classic Ivanov-Petipa choreography. Balanchine edited the story to one act with music from both Act II (the white act) and Act IV (apotheosis). He uses traditional choreography for the four swans, a highlight of the evening, and the variation for Odette, the Swan Queen and Prince Siegfried. Swan Lake is ultimately a love and loss story clothed in magic. Kudos to Lopez for enticing Simone Messmer to join the company. She is a Swan Queen of passion as she nestles her head and transitions from step to step, with sensitivity in the use of her feet, her arms as the love and sadness throughout her body permeates her enchantment. If the Balanchine version included a Black Swan, it would probably be Messmer’s forté. Rainer Krenstetter is a princely figure; elegant, technically sound and regal in his carriage. However, his portrayal of Prince Siegfried lacked emotion in his capable partnering of Messmer. Krenstetter has all of the necessary technical qualities to deliver a more soulful performance.
In typical classical ballet fashion, the principals are enhanced by the beauty and refinement of the ensemble dancers, and Balanchine’s choreography is no different. Runs and bourrées, the use of the legs and feet, are so important in Swan Lake to create seamless transitions and to not allow any step to become “pedestrian.” During the pas de deux, the main couple dancing together, the corp de ballet seemed distracted as they transferred from one grouping to another. Once the dancing started, the ensemble was wonderful as they moved together in unison. Balanchine has made more of a divertissements for the ensemble; it is less about furthering the swan story and more about dancing. As a result, the ensemble lost a bit of the swan magic in their use of technique and patterns. Melodrama and energy prevailed in the finale to culminate in the enchanted women returning to simple swans. The audience was swept away.
Viscera
A big change of energy and look took audiences to Viscera, a MCB premier in 2012 , and a United States premier for Scarlett’s work. The Miami dancers seemed right at home in this sculptured and complex piece. With backdrop colors ranging from deep red going into blues, flattering strapless leotards for the girls and tight-fitting shorts for the men, Viscera was a showcase for the dancers. The lighting by John Hall was magnificently enhancing every move, every look without detracting. Patricia Delgado commands the stage whether she is doing the most difficult tour de force technique, walking, or simply standing. She is easy to spot and carries the spirit and the heart of what is most prevalent and endearing about the Miami City Ballet dancers. Renato Penteado and Kleber Rebello were a dynamic duo in sync while they executed technical feats. Jennifer Carlynn Kronenberg, aptly partnered by Carlos Miguel Guerra, was mature and sensuous in the main pas de deux. Kronneburg does not carry a wide range in her movement quality, but it is lovely to watch her expressive style. Pianist Francisco Rennó complemented the dancers with exuberance.
Fancy Free, a 70-year old classic, premiered in 1944 with choreography by Jerome Robbins and an exuberant score by Leonard Bernstein. This precursor to “On the Town” takes us back to those musical days of Frank Sinatra and Gene Kelly. An able cast of Renan Cerdeiro, whose fun rhythms and hip swirls were engaging, Kleber Rebello who wowed us with double tours to splits and kitschy tricks, and the charmingly boyish Chase Swatosh, the timeless Robbins intricacies of choreography still hold. In this day and age, it must be challenging to be true to roles that require women to step back into an era that women have fought so hard to rectify. Rebecca King and Simone Messmer, once again, played their parts with commitment.
Swan Lake
To dance Robbins is a great opportunity. Lopez was one of the last dancers who worked directly with Robbins and is able to pass first hand information she learned from Robbins himself. MCB dancers are fortunate to have the historical and technique expertise that Lopez brings. It will be interesting to see how the spirit and soul of this gateway city of Miami cultivates a mature artistry for MCB in the future.
Miami City Ballet continues its performance of Program One.
- Broward Center, 201 SW 5th Ave., Fort Lauderdale, Saturday, Nov. 7 at 8 p.m., and Sunday, Nov. 8 at 2 p.m.
- Kravis Center, 701 Okeechobie Boulevard, West Palm Beach, Friday, Nov. 13 at 8 p.m., Saturday, Nov. 14 at 2 and 8 p.m., and Sunday, Nov. 15 at 1 p.m.
- Info at www.miamicityballet.org.
