Approaching Lincoln Center for New York City Ballet’s matinee on Sunday, I was asked three times if I had an extra ticket. There were also a number of people standing out in the cold holding up signs: “Need ONE ticket”. My ticket was an early birthday present and the only way someone was taking it from me would be to rip my shoulder bag from my firm grip and run like an Olympic sprinter. Robert Fairchild and Sterling Hyltin were making their debuts in Swan Lake and I was obviously not alone in having high expectations. Although my first live Swan Lake was Mikhail Baryshnikov and Natalia Makarova in 1981, it is still a thrill to see a talented young partnership take on these roles.
Artistic Director Peter Martins chose Fairchild and Hyltin to open his new production of Romeo & Juliet in 2007, and, after seeing them, the casting was no surprise. Although only 19 and 21 at the time, the responsiveness and sensitivity that imbued their performances matched their prodigious technical skills. One of my favorite moments of this partnership came in 2009 with Balanchine’s Stravinsky Violin Concerto, as powerful, fine detailing left their own imprints on the complex second movement of this landmark work.
Robert Fairchild and Sterling Hyltin, Romeo and Juliet, Photo by Paul Kolnik for New York City Ballet
It was the detailing of Fairchild’s and Hyltin’s characters in Swan Lake that touched me the most. Still early in their careers, these two artists have already learned how to make the smallest of gestures read up to the Fourth Ring and Fifth Ring of the theatre.
Accustomed to the energy and focus of Fairchild’s performances, his melancholic and distracted Prince Siegfried in Act 1 was startling to me. For a moment, I wondered what was wrong, until I remembered that he was acting. Although it was his 21st birthday celebration, Siegfried was distant from everyone and nothing seemed to please him; especially his mother’s admonition that it was time for him to take a bride. Fairchild glanced down at his left ring finger as if it was the last thing he wanted.
Accustomed to the energy and focus of Fairchild’s performances, his melancholic and distracted Prince Siegfried in Act 1 was startling to me. For a moment, I wondered what was wrong, until I remembered that he was acting. Although it was his 21st birthday celebration, Siegfried was distant from everyone and nothing seemed to please him; especially his mother’s admonition that it was time for him to take a bride. Fairchild glanced down at his left ring finger as if it was the last thing he wanted.
When he encounters Hyltin as Odette in the second scene of Act I, a current runs through Siegfried as he realizes what he has been searching for. Seeing her fear and vulnerability; he treads carefully. As he begins to win her trust, Hyltin’s Odette gently extends her hand to Siegfried. Slowly, tentatively, Fairchild slips his hand under hers and gazes in awe, as if Odette’s hand was a wax blossom that would dissolve at his touch. Siegfried slowly gains Odette’s confidence, touch by touch, movement by movement until their dancing literally bursts with the joy of their discovery.
In the ballroom scene (the “Black Swan”) Hyltin’s Odile shows us a much less obvious characterization, which makes more dramatic sense to me. Most Odiles react quite coldly to Siegfried and tease him unmercifully, while I wonder how he could be so totally taken in. Although he at first can hardly believe Odette is truly there, Hyltin shows Fairchild’s Siegfried just enough of a contrasting softness to Odile’s true nature that he is taken in by the sorcery. A fine technician as well as an actress, Hyltin tosses off the famed fouettes with ease. Their pas de deux is exultant; Odile, with the success of the plan and Siegfried, believing that he can present the bride of his choice to his mother, the Queen.
Upon fully realizing he has been cruelly deceived, Fairchild is shattered; momentarily collapsing at the feet of his mother, before regaining his footing and racing out of the palace to find Odette.
In the final lakeside scene, Hyltin movingly conveys Odette’s reaction to her betrayal; repeatedly drooping to the ground as if she would evaporate in grief before our eyes. While Siegfried persuades Odette that he does he does truly love her and swears his love once more, Hyltin’s Odette knows it is too late. Still hoping against hope, Fairchild shows us a heart being torn to pieces as the swans surround and lead Hyltin away. Although the sorcerer Von Rotbart’s power has been broken, Siegfried’s mistaken betrayal means Odette must remain a swan. Alone at the end, Fairchild helplessly sinks to the floor on bended knee.
While understanding that this Swan Lake was created as an alternative to the lavish versions normally presented, I still have definite misgivings about the production and design values. However, I’d rather give the focus to the dancers, as it was a solid cast that surrounded Fairchild and Hyltin. Although it is strange to find the Jester such a major character in this version, you can’t ask for more than the speed, powerful rotations, elevation and wit of Daniel Ulbricht. The challenging pas de quatre in Act II’s ballroom scene is a highlight of this production and Megan Fairchild (sister of Robert), Tiler Peck, Abi Stafford and Joaquin de Luz were elegant and dazzling. Although I was anxious to see Fairchild’s and Hyltin’s “Black Swan” pas de deux, these four were a special delight and I could have watched them all over again.
While understanding that this Swan Lake was created as an alternative to the lavish versions normally presented, I still have definite misgivings about the production and design values. However, I’d rather give the focus to the dancers, as it was a solid cast that surrounded Fairchild and Hyltin. Although it is strange to find the Jester such a major character in this version, you can’t ask for more than the speed, powerful rotations, elevation and wit of Daniel Ulbricht. The challenging pas de quatre in Act II’s ballroom scene is a highlight of this production and Megan Fairchild (sister of Robert), Tiler Peck, Abi Stafford and Joaquin de Luz were elegant and dazzling. Although I was anxious to see Fairchild’s and Hyltin’s “Black Swan” pas de deux, these four were a special delight and I could have watched them all over again.
In a 2007 interview before the premiere of Romeo and Juliet, Hyltin spoke of the intensity she and Fairchild share in bringing their characters to life and wondered if that emotion could be felt by their audiences. I hope she has since learned that the answer to her question is a resounding “Yes”!
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