So how long does he see himself staying on the far side of America? “Well, I am just about to sign another six year contract,” he grinned…
Without Körbes’s natural, radiant dancing, Jean-Christophe Maillot’s Roméo et Juliette, which dominated the company’s four-day run, would have been hard to bear.
In New York one can begin to feel proprietary about Balanchine, to form the illusion that his choreography is a local specialty, the province of a select group of dancers, all of them employees of New York City Ballet. But this is mere local pride.
Now thirty-one Carla Korbes has grown up to become one of America’s most remarkable ballerinas. Her recent performance of Terpsichore’s duet with Apollo at the Guggenheim was one of the most touchingly natural and innately musical interpretations I’ve seen.
The actual Roméo and Juliette sections of Waltz’s work are captivating, but when they stop dancing, it’s harder to remain invested in what’s going on around them. Even in an abstract version of Roméo et Juliette, Romeo and Juliet remain the focal points.