Issue link: https://newsleader.uberflip.com/i/218481
Sarasota News Leader November 29, 2013 was happening at the time: A girl fell; another arrived late, etc. Therefore, the overall pattern of this ballet winds and unwinds throughout the musical accompaniment as the girls rush onto the stage, leave and reappear — as if floating through space. In a few words, Balanchine's magic is underscored in his understanding of the spirit of the music, and his choreography is always deeply connected to whatever music he has chosen as a springboard for his vision. In the challenging waltz movement, the first of four in Serenade, Danielle Brown was more lyrical than usual. Melding quick footwork with the daunting technical challenges while maintaining a fluidity of movement in the torso is the basis of the Balanchine style, and both Brown and her partner, Ricardo Page 91 Rhodes — careful and elegant as the shadow figure — tackled their difficult roles with authority. Amy Wood and Jamie Carter as the Dark Angels were both musical and fast; while Kate Honea whirled off the quick turns as the Russian girl. There are moments in the ballet when Balanchine appears to be having fun — inserting the traveling arabesques from the ballet Giselle as well as a reference to Orpheus searching in the underworld. But it is the breathtaking last image of Brown, hair flowing, head and body arching backwards with her arms outstretched at her sides as she stands on the hands of four men and slowly travels off into the wings — followed by the corps, heads slightly tilted up to the heavens, arms reaching skyward to the unknown Elegant movements are integral to Serenade. Photo by Frank Atura