At the start of this ballet, introducing American Ballet Theatre's terrific, new mixed bill at the Metropolitan Opera House in New York, a man carries a woman onstage in that same position. Perhaps he is an architect, like the choreographer. Toting his materials to the work-site, he constructs an elegant labyrinth and, at the end of the day, he rests beside a piece of masonryβa statue of an angel waiting to be placedβimagining wonders yet to come.
American Ballet Theatre. Through July 6. Mondays through Fridays at p. How Much:. What could be more delicious than a visit to this Russian estate in summer, where people dance to a rippling stream of Chopin piano music while servants pop fresh berries into a person's mouth?
Not that the atmosphere is restful. Oh, no. Natalia Petrovna is a lady who has little to do but fan herself and make mischief. Does Natalia Petrovna truly love these men, or are the intrigues a distraction that saves her, briefly, from acknowledging her fading charms?
Portrayed in shrewd detail by Julie Kent, she is tormented by too many lovers and by the interference of her ward, Vera, whose youth and sincerity make her an inconvenient rival. Everyone from the maid to the little boy, Kolia, adores Belaiev, standing aside expectantly as he makes his entrance. Belaiev alternates between stretched and yearning lines and a fiery bravado in his solos; and ABT has two paragons of virility to play him. Roberto Bolle is the stronger partner and when he tosses Kent into the air, her tulle gown frothing, the ballet reaches heights of gallantry.
David Hallberg, partnering Hee Seo, seems more repentant after scandal brings his affairs to light. Daniil Simkin and ebullient Arron Scott share the role of Kolia, who manages a bouncing ball and spitfire pirouettes. Ashton makes the child a complex character, innocent and yet a knowing Cupid complete with bow-and-arrow. Sarah Lane stands out as a tempestuous Vera.
