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Sara Mearns and Russell Janzen in Justin Peck’s Bright.© Erin Baiano. (Click image for larger version)Justin Peck provided the opening ballet, Bright, a reworking of his earlier pas de deux The Bright Motion. The short piece for three couples, led by Sara Mearns and Russell Janzen, is elegant and bright, bathed in flattering hues by the lighting designer Brandon Stirling Baker. But it does nothing to dispel the feeling that Peck is stuck in a rut, creating attractive, pleasant ballets to atmospheric but fundamentally formless music by pop-infused contemporary composers. (In this case, Mark Dancigers’s The Bright Motion II, orchestrated for New York City Ballet.) Here as always, Peck creates images of striking loveliness, like a series of arabesques followed by a slow lifting of the arms.
His partnering is quick and bright, more a give and take than a portal into a realm of heightened emotion. At the end, Mearns and Janzen, simply separated and walked off in different directions, with one final look. Like the ballet, the gesture feels flippant.Thanks, then, to Balanchine, for the final entry of the evening, Theme and Variations, a ballet that never fails to impress with its crystalline logic, sumptuous score, and powerful sense of momentum. This was certainly not a performance for the ages, and it is a shame that this season Theme is not being performed on its own, but as part of the over-long and repetitive Tchaikovsky Suite No.
(So much running! So much hair!). But it was good to see Megan Fairchild back in form as the lead ballerina in Theme, particularly in the quick, bright sections, where she has lost none of her sparkle.
“the opening phrase was shaped with delicacy and poise, with natural rise and fall, allowing the music to breathe almost vocally. Then the turbulence started: with Mendelssohn’s marking of Allegro molto appassionato, she took the music in some very stormy and serious directions.
Eberle drove the performance and towards the end, when she put her foot on the musical accelerator, Payare had to drive the orchestra to catch her. This gave a sense of spontaneous music making, something fresh, vibrant and exciting – a risk-taking performance. “Whilst it had always seemed meandering in previous performances I have seen, Rattle and soloist Veronika Eberle shaped the sublime ebb and flow of the movement beautifully.
The Larghetto was warm and spacious, and the LSO produced some startlingly tender pianissimi. Eberle’s Stradivarius lived up to its reputation and her musicality matched its rich, golden tone.
The finale brimmed with vitality so powerful that I was suddenly struck by how reminiscent this movement is of the third movement “Merry gathering of country folk” of the Pastoral Symphony.”Bachtrack.com“Rattle and Eberle probed ever more searchingly under the skin of a concerto which is sometimes treated as merely the quintessence of serenity. Not here, however. Exceptionally delicate dynamics were a hallmark throughout, as both orchestra and soloist spun the first and second movements out into the merest scintillas of sound, which made the closing rondo all the more impressive for being harder won than usual.”The Guardian. “among the most exciting, pulse-pounding, confidently rendered interpretations of the Beethoven Violin Concerto that I’ve encountered in decades of concertsHer combination of a wonderfully pure tone and a full, forceful sound gave an early indication that she was a special musician, but it soon became clear that she was also an interpreter of tremendous depth.
Seldom do you hear such roiling conflict emerge in the Beethoven concerto’s first movement, Eberle’s lovely high trills giving way to lyrical lines soaring above the orchestra, then the two astoundingly co-existing in her cadenza.”. “Eberle was a commanding stage presence even in quiet passages—the true test of a star performer. Her full, golden tone became gritty when called for, and her vibrato expanded and contracted appropriately to the season.
In “Spring,” the interplay between Eberle and concertmaster Martin Chalifour became a Messiaen-like celebration of birdsong. The ensemble, especially vivid in “Summer,” conveyed inner and outer weather, with the delicacy of Eberle’s performance contrasting memorably with her virtuosic intensity.”LA Times.