Balanchine, of course, remains the brightest sun in the MCB universe. But from early on, this company has also gravitated toward contemporary choreographers, especially Taylor. Friendly to the stride of ballet, his Arden Court lets these Balanchine-centered dancers make their spin on the material dazzling.
“This is my first time dancing Arden Court. The music is gorgeous, and you must move very fast to it,” says corps member Andrei Chagas, among the six men — accompanied by three women — who ride this winged creation at a gallop to sections of symphonies by 18th-century English composer William Boyce.
Chagas found a bridge to his work through a previous casting in Mercuric Tidings, another lofty Taylor choreography. “The presentation is very squared-off,” Chagas explains, “and the pull downward defines it.”
Mornings after dancing this piece, he has felt the difference in his muscles and needed to shake off the tightness in his calves. “The use of the quads too — relying on their strength — shows the roots of this movement are in the ground,” he says. Yet he must also find impulse for flying leaps, which “makes things more complicated!”
Observing his fellow dancers in action has also helped Chagas. “As a viewer, I’ve better understood this as a comic ballet,” he says. “It’s very joyful, and in all its elegance, there are jokes.”
From the Balanchine trove of tutu-and-tiara delights, this program also brings Divertimento No. 15, a rare piece. The Russian-born master often made dances to scores by his countrymen, but in this case he relied on Mozart to propel a musical genre identified with amusement into the realm of exaltation. Somewhat abbreviating the score for strings and horns, the choreographer relayed its ebullient spirit — not without reflective passages — to uphold ballet’s noblest qualities: graciousness, sophistication, and verve.
The distilled classicism of the work speaks to Delgado, who points out “it’s technically hard. The turns at the end come when you’re already tired. They have a little twist, and you have to keep the rhythm while the music speeds up. But this is also witty and full of charm. Such a gem!”
Her variation, moreover, carries a bit of history that adds to its significance. Delgado explains that in 1956, Balanchine choreographed the work for his wife Tanaquil Le Clercq, a supreme interpreter who not much later contracted polio, marking an abrupt end to performing, at the age of 26. “Balanchine poured lots of love into this dance,” Delgado says. “I can really relate to the sensuousness of it.”
The ballet’s unusual structure — five principal ballerinas attended by three men, backed up by an eight-woman corps — also allows Delgado to perform her final dance alongside a wide representation of her artistic family. “I’m happy I get to take the stage with so many of my best friends,” she says.
And that kind of amiability will continue on the dates Delgado dances in Balanchine’s Who Cares? To a suite of orchestrated George Gershwin songs, couples here come and go, soloists swing through, and spirited groups share the fun — all like jazzy pilgrims on a swanky night out on the town. This builds layer upon airy layer of playfulness and romance. But, no mere puff pastry, the dancing fortifies the heart.
“It was the first ballet I performed as a company member,” recalls Delgado, who by now has gained enough experience — in life as in art — to fully embody the devilish wit of “Fascinatin’ Rhythm” and the entrancement of “The Man I Love.” That latter selection especially excites her.
“I’ve been listening to Ella Fitzgerald. Her singing has let me go deeper into the emotion, and I can relate it to my feelings for Justin,” she says of New York City Ballet resident choreographer Justin Peck, her romantic partner, whom she will soon join full time in the Big Apple.
Yet Delgado reveals she wants her dancing in Who Cares? to be a double valentine, in further appreciation of another man: her dance partner Renan Cerdeiro. It’s collaborations such as theirs that have made the long list of pas de deux in Delgado’s glowing resumé so memorable.
— Guillermo Perez, artburstmiami.com
Miami City Ballet Closing Program
8 p.m. Friday, March 31, and Saturday, April 1, and 2 p.m. Sunday, April 2, at the Adrienne Arsht Center for the Performing Arts, 1300 Biscayne Blvd., Miami; miamicityballet.org. Tickets cost $20 to $85. Performances continue the following week at the Broward Center for the Performing Arts.