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New York City Ballet Teresa Reichlen, foreground left, and Sara Mearns, foreground right, with fellow members of this company in “Concerto Barocco,” at the David H. Koch Theater at Lincoln Center. Credit Andrea Mohin/The New York Times Does art get any better than this? There were many moments when it was easy to ask that question during the performance of George Balanchine’s “Concerto Barocco” (1941) on Thursday night at New York City Ballet. Over the decades, “,” choreographed to Bach’s double violin concerto in D minor, has converted many people to ballet, indeed to choreography. Balanchine’s for two solo ballerinas, one male partner, and a corps de ballet of eight women is a masterpiece of design: You absorb its overall architecture in terms of rhythm, of changing geometries and of drama beyond words and narrative.
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It has received some superb performances in the last year, but Thursday’s took it to its greatest height in many seasons. And Sara Mearns matched each other in spacious exuberance and brio in the leading roles. Reichlen, partnered by, broke through in January to new layers of physical boldness and freedom; this performance came the evening after her remarkable debut in the ballerina role of “Chaconne,” Balanchine’s Gluck ballet, in which she and Adrian Danchig-Waring (a new high for him) grasped both the empyrean lyricism of the opening Blessed Spirit pas de deux and the rapturous exultance of the final celebration. Reichlen and Ms.
Mearns, dissimilar in build, gorgeously complementary in style, dance together like sisters: Their duets were vibrant with the joy of dance as music-making. In this they matched their violinists, and; ’s conducting was an important source of life throughout. Advertisement In the second of the ballet’s three movements, Ms. Reichlen, partnered by Mr. La Cour, charged her long phrases with subtle gradations of dynamics. When one series of to-and-fro arching lifts ends with an arrival on one point, she phrased this like a soft diminuendo into an almighty hush; in the thrilling horizontal line of supported pirouettes, each one opening into a high sideways leg extension, her rapid alternation of spinning fluency and ample proclamation was a marvel of contrasts.
— the most authoritative, Romantically dramatic and glamorous ballerina in the United States — seized on one solo diagonal of jumps as if it were the most jubilant moment in all her repertory. And the — which never leaves the stage — matched the elegant cut and thrust of Bach’s orchestral writing. Sara Adams, Likolani Brown, Alina Dronova, Meagan Mann, Jenelle Manzi, Kristen Segin, Gretchen Smith and Lydia Wellington were steadfastly immersed, dancing with exhilarating expansiveness.
“Barocco” was the first item in a double bill of Bach ballets; the other was Jerome Robbins’s “,” returning to City Ballet repertory for the first time since 2008. It’s easy, especially after the perfect construction of “Barocco,” to find fault with Robbins’s 1971 work. It frames itself with a historical ancient-and-modern concept (or gimmick) that’s never quite convincing: The ballet begins with a couple in baroque dress, switches to an ensemble in modern dancewear, then to an ensemble in semibaroque attire, before closing with the original couple, now in modern dancewear. More than that, Robbins’s response to this long score never feels like one organic piece; and several of its sections flag in invention and energy. Although the choreographic rightness of “Barocco” is an illusion — Bach certainly never envisaged anything like Balanchine’s physicality — it’s a persuasive one. By contrast, at no point does “Goldberg” feel musically inevitable. Even so, keeps recapturing attention with a daring experimentalism.
You think the baroque/modern historical games of “Goldberg” are going to cripple the work with pretentiousness, but the opposite happens. It’s amazing how often it gives us the sense of being in the dance laboratory with Robbins, trying out ideas. Though Robbins employs Balanchine’s dance language, he often pointedly rebels against Balanchine’s orthodoxies. Here men partner men; women partner women; the two sexes share the space as equal workmates; Robbins uses the body supine on the floor, ordinary pedestrian movement and commonplace acrobatics (cartwheels, for example), all of which refresh ballet. There are, meanwhile, many passages of pure-dance felicity that ride happily on Bach’s energy.
Robbins makes “Goldberg” feel not like one piece but many, as if he were walking us through a vast building, opening doors and windows as he passes. Rightly, Thursday’s greatest single ovation went to the pianist, Cameron Grant, for whom Bach’s 85-minute score is a tour de force. Some of its most breathtaking cascades occur after over an hour of playing.
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In Part 1, two of the company’s male corps dancers, Daniel Applebaum and Joseph Gordon, and two male soloists, Anthony Huxley and Taylor Stanley, make memorably individual impressions. (For the eminently talented, this follows a brilliant debut on Jan. 25 in the third movement of Balanchine’s “Symphony in C”; his polish, elevation, and physical luster are remarkable.), a beautiful classical stylist who has often seemed too guarded in the past, has been finding a new forthrightness.
His frank incisiveness here was startling. Sterling Hyltin, Maria Kowroski and Tiler Peck lead Part 2 with the refinement of style that makes them beloved ballerinas. Even those who have greater reservations than I about “Goldberg” have often been grateful for what it discloses about its performers.
There’s a largeness of spirit in “Goldberg” that transcends its many shortcomings.