Angel Corella looks like a man who’s finally come home. American Ballet Theatre’s beloved Spanish principal recently announced his retirement in June — focusing his energy on running the Barcelona Ballet, which just returned for its second season at City Center.
The troupe, formerly called the Corella Ballet, is dancing three works, including the world premiere of “Pálpito,” by Spanish choreographers Ãngel Rojas and Carlos Rodríguez. If Tuesday’s opening night was any indication, the young company has loads of promise, but will need Corella’s full-time attention to come into its own.
The compact dancer is the star — and the heart — of the show, and the program’s three works reflect his own dancing: athletic, balletic and filled with emotion. Corella shows it all in “Pálpito” — Spanish for “hunch” — from the familiar sweep of his expressive arms to gentle partnering and lifts, and in his slow, lonely stride through a crowd of dancers.
Just having him in their midst, the company eased into its own balletic power: The women’s swaying tango was more seductive, the men’s landings more confident. All of the dancing seemed to improve in Corella’s presence.
On a bare stage, the company swirled in Vincent Soler’s inventive, multicolored costumes; at their center, Corella shone in stark black and white. Also at the center of “Pálpito” was its other star — the lush score by Hector Gonzalez, to be played live and powerfully through the City Center run. The music is haunting and driving at the same time, filled with eerie flamenco vocals and magical tango rhythm and strings — a mixture of Spanish heartbeats.
The dancers seemed more tentative in the first two pieces. Clark Tippet’s “Bruch Violin Concerto No. 1” included a crisp performance by Momoko Hirata in pink. Christopher Wheeldon’s “For 4” was well-danced, but the men couldn’t keep up with the original dancers, a group of top male virtuosos — Corella among them — performing as “The Four Kings.”
Corella has always been a joyous dancer, but his new role as a director and mentor makes him seem even more so. In the closing of “Pálpito,” he embraced Carmen Corella — his sister and associate artistic director — in a dazzling lift, both of them wearing brilliant trademark smiles. Then he took the spotlight in a powerful series of crowd-pleasing turns, while his energized (and finally relaxed) company rhythmically clapped in time.
Name change or not, this is still Corella’s ballet.