The movement in Romantic Pieces speaks to me about love  –the good, the bad and the ugly of it.  Dancer Elizabeth Brown enters the floor alone demonstrating pretty port de bras and leisured control.  A blend of contemporary and classic movement lends itself to the music of Anton Dvorak (played by Erik Carlson [violin] and Melody Fader [piano]).  Emery Le Crone and Andrea Spiridonakos (dancers from Miami City Ballet both joining NCB for the first time this evening) help complete the story.  The choreography changes from lyrically soft, to playful, to ridged within moments.  Each dancer executes virtuosity in not only technique, but in matters of the heart.

Magliore describes the score to Dreams as sound-scapes, which couldn’t be more accurate.  Three dancers lie on the floor swirling their hands in patterns that look like three children mapping out stars in the sky or foreign lands on a map.  Dancers, Le Crone, Brown and Madeline Deavenport perform choreography to whispers, clucks, and whirrs created by their own mouths.  What a triumph in concentration and artistry for these three!  Crafted with punctuated choreography and articulate hand movements, and, often, creepy and urgent murmurs, Dreams seems to illustrate more of a nightmare; but, it is transformative nonetheless.

The world premiere of All the Rage, choreographed by Royal Danish Ballet dancer, Constantine Baecher, is a vibrant visionary change of pace in the evening, with a new music commission for Martin Strauning (it’s worth noting the juxtaposition between him and Magliore as a choreographer turned composer).  This is the first piece showcasing the extraordinary dynamism of dancer, Lauren Toole.  Her battements snap strong and hard like a thick rubber band; the energy around her movement shows that her talent is what all the rage should be about.

Moments is a surprisingly sweet pas de deux between music and dance.  As Carlson delicately plays Salvatore Sciarrino’s Caprices No. 2 and 6 for violin, Toole soaks in the music with her movement.  Whispers from the violin make an unlikely but successful partner to Toole’s gloriously arched back and well-balanced plies en pointe.  Her port de bras wrap around the music like an embrace from a lost love:  desperately and tenderly holding and unwilling to let go.

The final piece of the evening, Echoes is like a game of Marco Polo played by the dance and the music.  Magliore explains that the music of Anton Webern is often only seconds long, but nonetheless enchanting; rather than overpower the music with choreography he chooses to chase it.  Each of the four pieces for piano and violin are followed by stark and architecturally composed movements.  This is the first time the entire company appears on the floor together, making it one of the more ambitious pieces of the night.  Despite its waning title, Echoes is filled with moments of splendid stillness and a resounding strength.

Miro Magliore’s New Chamber Ballet fills the room with ebullient movement and rich music.  One could expect nothing less from this composer turned choreographer.

Miro Magloire’s New Chamber Ballet, Photos by Kristin Lodoen Linder

iDANZ Critix Corner Official Dance Review by Joey Lico Performance: New Chamber Ballet Choreography: Miro Magliore Venue: City Center, New York City Performance Date: Friday, September 11, 2009 www.iDANZ.com

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