The highlight of this program was, without a doubt, the presentation of The Rite of Spring by the Columbus Symphony and BalletMet, sharing a very full stage.
The first two pieces of the program had strengths and weaknesses. Afternoon of a Faun (composer Debussy, choreographer Amedeo Amodio) was beautifully played by the orchestra but suffered somewhat in the Saturday show from a lack of charisma on the part of the two dancers; however, I heard reliable reports that the Friday night/Sunday matinee casing of Estevez and Benz was very strong. Ward is a beautiful, athletic dancer, but he sometimes has trouble bringing emotion to his roles. As the faun he had strength and grace, but lacked the essential predatory fire needed for the part. Lee was competent but forgettable. Nevertheless, the collaboration of live orchestra and dancers was enjoyable.
Rapsodie Espagnole (composer Ravel, choreographer Jimmy Orrante) again brought us fine music from the orchestra, but unfortunately the choice of black costumes for the dancers caused most of the choreography to be lost against the backdrop of the formally attired musicians. Luxuriously full Spanish dresses on the women, and intricate jackets on the men (designed by in-house Costume Designer Shujie Hu) were beautiful, but unequal to the task of giving the dancers the setting they needed to showcase their hard-won skills. Despite the title of the work, this Ravel piece is actually quite difficult to choreograph successfully. It is mostly rather slow for dance, and the short bursts of intense music and movement are few and far between. Orrante is developing into a fine choreographer, and his work can be playful, scintillating, and smart. This music didn't give him a chance, or he missed what chance he had, to really engage us.
Intermission brought a delightful highlight: a special ice cream designed by Jeni's specifically for this event. Jeni's recipe experts harked back to Paris of 1913, venue for the first infamous performance of The Rite of Spring, and put together an Absinthe and Meringue concoction that was memorable. A very strong licorice flavor was balanced with an undertone of green matcha tea, and bursts of incorporated meringue paillettes. The long wait in line was worth it.
The Columbus Symphony did Stravinsky proud with a strong performance of The Rite of Spring, with a particularly enjoyable, confident tympany section. The orchestra, as conducted by Jean-Marie Zeitouni, did an excellent job of responding to the dancers as well, creating a real sense of on-stage synergy. The essential dissonance of the piece was embraced with skill and, it seemed to me, affection. The musicians convinced us thoroughly that they loved and were enthusiastic about the sound they were producing and the audience responded in kind.
James Kudelka choreographed the BalletMet ensemble. Many choreographers since the original (the celebrated Vaslav Nijinsky) have presented their interpretation of the narrative of pagan rite. Kudelka's vision was contemporary and exquisitely sensitive to the music itself, with modern references to the rite. His movement captured the essence of the composition, with dancers crowding and pushing against each other, representing the clash of sounds Stravinsky tamed. Seemingly amorphous groupings were actually highly organized to produce a movement evocative of passion and dissonance. It was visually stunning and viscerally satisfying. The best view for the piece, lucky for me, was from the heights in the back: the patterns of the dance could be understood and appreciated, and the music well-mixed but not overwhelming. Moments of forceful tympany, combined with brilliant stomp choreography created a powerful aural and physical experience. Kudelka and the BalletMet dancers were able to bring a coherent, gorgeous vision to Stravinsky's sounds that made me, at least, understand his music in an almost "ah-ha!" moment. Having grown up in the original Disney 'Fantasia" era, I thought I knew the piece all too well. Kudelka brought me to an entirely higher understanding.
The Ohio Theatre audience was full, thoroughly appreciative, and seemed delighted to be able to fully embrace this music that was so reviled at its premiere, becoming the third collaborator in this ambitious, superior production.