On Wednesday evening, May 9, 2010 the New York City Ballet presented a more or less spectacular performance featuring composers Tchaikovsky’s Serenade, Stravinsky’s Firebird and Brahms’ First Piano Quartet in G minor, Op. 251, orchestrated by Schoenberg.  All choreography was done by NYC Ballet founder George Balanchine.

Firstly, the set of the first performance, Serenade, was ghostly with it’s glowing blue hues of lighting and costume.  The costumes for each performance were beautiful.  Color (with reference to set and costume design) in combination with the timbre of the strings put me to sleep within approximately fifteen minutes past the waltz.  I was somewhat embarrassed but I could not help it.  It was the perfect fix until I fell on the lady next to me.  I just could not stay awake.  It is worth noting that the sensuality of the waltz kept me awake.

I assure you that I was alert for the Firebird Suite performance.  I do not know how anyone could fall asleep during that.  I was most impressed by the firebird’s costume which was supervised by Dain Marcus.  It made the prima ballerina, Ashley Bouder, look absolutely fantastic and truly transformed her into her character.  Not only the costume but the fire that followed her which was provided by Mark Stanley positively set the stage afire.  The original choreography by George Balanchine was absolutely beautiful.  The wizard’s and demon elves’ costumes were spectacular as well.  The tension of the music was accurately transposed on stage with the volume of forest dwellers as they enchanted the princess and her maidens.

Finally, Brahms’ First Piano Quartet in G minor, Op. 251 orchestrated by Schoenberg.  The end piece that put me to sleep as well.  I will note that the reason why I fell asleep is probably because of my exhaustion but also because of the soft mauve colors of the set, costumes and timbre of the orchestra.  I only felt alert and awed during the final dance, the Rondo alla Zingarese.  The “Gyspy Rondo” was at a tie with the Stravinsky’s Firebird.  The costumes were wonderful and Ask la Cour’s performance was sensational.  He gave a perfect performance in my eyes and I am sure in everyone else’s eyes as well.  The quintessence of his soul shined through his entire body and no one wanted it to end.

Overall, the pieces complemented each other well although I would have preferred consistent excitement provided by the “Gypsy Rondo” and Stravinsky’s Firebird.