Music and Dance Reviews : Ballet Theatre Revives ‘Soiree Musicale’

An attractive revival, a familiar and beloved ballet, plus two repeats from opening night, made up the Wednesday offering by American Ballet Theatre at the Orange County Performing Arts Center in Costa Mesa.

John Taras’ “Soiree Musicale” was created in 1955 to music by Britten and danced the following year in Monte Carlo, according to the choreographer, who was in the audience. The work was not seen again until Taras revived it for ABT in January.

A modest, sly, eminently civilized pas de deux, the 12-minute work was danced for the first time with delicate precision and ease by Cynthia Harvey and brilliant, bracing turns and sensitive partnering by Wes Chapman.

Minimizing caricature and campiness, the company emphasized the high innocence and democratic idealism of De Mille’s “Rodeo” (to Copland’s wonderful score). Kathleen Moore was achingly appealing and impish as the Cowgirl; Victor Barbee, as the Head Wrangler, was best in his wonder-struck admiration of Amy Rose’s sweet, warm Ranch Owner’s Daughter. John Gardner was a generous Champion Roper, terrific in a series of cantilevered turns.

New to the opening night lineup of Tudor’s “Jardin aux lilas” was Ross Stretton as Caroline’s betrothed. Despite initial distractions of a baby crying in the audience, Stretton was able to draw a portrait of a distraught, trapped, ravaged and vulnerable man within the confines of Tudor’s complex, painful psychological study of emotion and relationships frustrated by societal norms.

Among cast changes in Ashton’s “Birthday Offering,” were a scintillating Amanda McKerrow, a lyric Marianna Tcherkassky and a secure, restrained Harvey.

Charles Barker, Jack Everly and Emil de Cou shared conducting duties. The Pacific Symphony played with energy, occasional imprecision and frequently fractured trumpet solos.