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A Fine Debut, and a Glorious "Sylvia"

“Sylvia”
American Ballet Theatre
Metropolitan Opera House
New York, NY
July 5, 2006
(matinee)

by Susan Reiter
copyright ©2006 by Susan Reiter

The brief return of Frederick Ashton’s sublime “Sylvia” for four performances generously featured four different casts, and Wednesday’s matinee was notable for David Hallberg’s deeply poetic portrayal of the shepherd Aminta. His dramatic skills have certainly been developing this season, as he has moved into a range of leading-man roles, and he effortlessly created a hero enraptured by the imperious nymph Sylvia, one who is emboldened and ennobled by the power of his love. He was exquisite in the melancholy first solo, pouring the full eloquence of his line and innate nobility into its melting arabesques.

Sylvia was danced with gleaming confidence by Michele Wiles, who imbued her with imperious pride at the outset, giving way to bewildered confusion once Eros’ arrow had done its work. Her strong, clear attack lends itself beautifully to this huntresses assertive leaps and emphatic gestures; there was no doubt who was in command in this grove. Her acting, while one would not call it nuanced, conveyed the doubts and changes that her character went through; one clearly saw the moment in the second act when she realized there was a way to outsmart Orion, and suddenly turned on the forced merriment. Overall, the role was a more seamless fit for her than last year, and she sustained the throughline of Sylvia’s journey from blazing huntress to seductive manipulator to triumphant celebrant of the power of love.

Gennady Saveliev’s Orion was an uncomplicated villain, selfishly — and ultimately foolishly — determined to get whatever he wanted. He emphasized the muscular force of his character’s dancing, providing a rough forcefulness that made Hallberg’s sweet purity stand out in further relief. Arron Scott was a sweetly bemused Eros, showing lesser beings the way, imbuing them with the knowledge to understand what they really desire. His appearance when Sylvia summons him through prayer in Act Two had appropriate majesty, and both of them mimed the scene well, even though the vision of Aminta, to which Eros points, failed to appear.

The refined glories of the ballet’s third act are almost an overabundance of beauty. Ashton, aided by the splendid designs of Robin and Christopher Ironside, evokes the robust celebrations of Dionysus with elegant pageantry and some of the most beauteous ensemble dances anywhere. From the moment the eight “Spring attendants” leap on to Delibes’ gorgeous music, and the layers of dancers join in to build to an exuberant crescendo of leaps and marches, one can only sit back and admire this blend of craftsmanship and inspiration. And after the vigor of this grand display, there are still the more intimate pleasures of the pas de deux in which Sylvia and Aminta confirm they have truly entered each other’s worlds and joins in harmony. Wiles tamed her bold huntress dynamism to shape the daintier steps of her solo here; the only thing missing was a a more yielding plastique that an ideal Sylvia would also encompass. Hallberg’s innate perfectionism of classical form and his expansive, perfectly shaped jumps elevated the festivities to a higher level.

The entire company seems to have really committed to the sweet mythological fantasy of this work, and it’s a shame it had to few performances to showcase that spirit. Hopefully, “Sylvia” will maintain regular place in the ABT’s repertory.

Volume 4, No. 26
July 10, 2006

copyright ©2006 Susan Reiter
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©2006 DanceView