Review: Ferri, Cornejo, & Levingston in TRIO CONCERTDANCE

BWW Review: Ferri, Cornejo, & Levingston in TRIO CONCERTDANCE

Photo Credit (both images): Roberto Ricci

It was a sold out performance on Wednesday, March 2 at The Joyce Theater. This evening, former principal dancer of American Ballet Theatre (ABT), Alessandra Ferri, and current principal dancer of ABT, Herman Cornejo were performing together again at last. Bruce Levingston, pianist of TRIO CONCERTDANCE was the gifted artist who was to bring the music to our ears and the notes to fill these dancer's bodies. For those of you who have seen Ms. Ferri while with ABT, you will recall that her consistent male partner was Julio Bocca. However, when Bocca retired from ABT, Herman Cornejo was cast with Ferri. Interestingly enough, both men are from Argentina. Many of those who saw Ferri and Bocca as the quintessential ballet partnership, including me, were unsure if anyone could see a duo dance dynamic such as this again. Well...it happened.

Bruce Levingston and his grand piano were on stage right center, while Ferri and Cornejo were huddled in the center of the stage-bodies slowly breathing to the notes that filled the stage progressively. This brought them to life. As they began the piece Flair, her superb arched feet and his attentiveness to partnering exuded as the most seasoned of ballet dancers. The music Musica Ricercata No. 2, also used in the film Eyes Wide Shut, gave me the impression of peering into a closed dance room. They just danced as if no one was watching. Even though the steps were elementary, it was performed with such control, fluidity, and as one. The choreography by Demis Volpi was a wonderful fit for them. This was just the beginning of more to come from the stars.

To understand how this evening of ballet, which was a little over an hour with no intermission, would flow was with Mr. Levingston's musical virtuosity. He was an integral part of maintaining the pace of the performance. Following each dance, Livingston played at times from memory and at other times glancing at the musical score. There was not a dull moment in his performance due to his fervor. The audience responded with thunderous applause at the conclusion of Etude Nos. 5 and 6, composed by Philip Glass, when Mr. Levingston stopped before its musical button-hands frozen above the keys to a stage blackout. Kudos to the lighting production on their impeccable timing!

Herman Cornejo performed a solo called Momentum, an appropriate title for this piece. This was his choreography as well. With his tousled curls and matador movements, he presented a Spanish flair. In Cornejo's flawless double pirouette into double tours, fermé, and artistic emoting, his dance appeared as if it were an improv after the lights were dimmed and students were finished with their dance class. Just he and he alone was dancing in the semi-darkness.

The introduction of Ferri's solo began with her barefoot and in a nude-colored costume. Simple and raw. I did not prefer this piece because I felt it was not her. Ferri excels at many styles of dance, yet this was bland and left me waiting to see her do what she does best-pas de deux. Regardless, instead I was distracted more so by watching her amazing feet and legs.

The last three pas de deux, Senza Tempo, Entwine, and the Pas de Deux from Le Parc, were the reasons why I and probably so many others were at the Joyce. It was the final pas from Le Parc that took my breath away. Both dancers were dressed as if in bedroom attire from the Edwardian period. Cornejo in a white blousy top, white socks, and white capri tights with Ferri matching with a long-sleeved, mini-length billowy top. Their act revealed in dance the vulnerability of making love. A most unique section that I had never seen nor even thought to create was when she put her arms around his neck while kissing on the lips, he stepped back slightly where she then rolled through to point her bare feet, and thereafter spun her around with his arms open wide. Their lips still locked! Besides being moved to tears within this moment, I also thought "Be careful Herman, she is precious cargo."

These last three pieces had similar choreography to Romeo and Juliet-the abandonment of young lovers and a very skillful male partner to maneuver intertwined shapes. Their strength and suppleness combined created a partnership that I hope will continue. Ferri dances as if time has stopped. Her style and love showed through at all stages of her career...including this performance.

To post a comment, you must register and login.