This little excerpt is from a ballet film called "Uprising" about the Polish Holocaust, choreographed by Donna Greenberg.
It is the one colorful, idyllic part of the film which tells the story of two young lovers and their attempt to escape the Nazis. Amid the havoc and horror this picture of idealized love occurs as a dream scenario.
It's a poignant moment of a remarkable ballet.
Sunday, September 13, 2009
This little excerpt is from a ballet film called "Uprising" about the Polish Holocaust, choreographed by Donna Greenberg.
Wednesday, August 19, 2009
Saturday, March 21, 2009
In a competition where past winners include Rose Gad Poulsen (1988) and Silja Wendrup-Schandorff (1989) of The Royal Danish Ballet, Julie Kent (1993) and Michele Wiles (2002) of American Ballet Theater, Johan Kobborg (1993) of (at the time) The Royal Danish Ballet, and Vanessa Zahorian (1999) of the San Francisco Ballet, the bar is set high for the rising young ballet stars of today.
The 5 companies which have sent competitors since 1988 are all those with which Erik Bruhn had close relationships of one kind or another: The Royal Danish Ballet (RDB), The Royal Ballet (RB), American Ballet Theater (ABT), San Francisco Ballet (SFB), Stuttgart Ballet (SB), and The National Ballet of Canada (NBoC) . There have been 4 winners from RDB, 1 from RB, 2 from ABT, 2 from SB, 1 from SB, and 5 from NBoC.
This year’s winners change the totals to 3 for ABT and 6 for NBoC.
I don’t know about all the other years, but this year, for example, there were no competitors sent from Royal Ballet, and last time (2007) there were only 4 companies present (San Francisco and Stuttgart ballets were absent), so the numbers don’t really represent any real comparables when all companies are not included every competition.
The evening began with opening remarks by an elegantly-but-simply-sheathed Chan Han Goh striding to the podium with Aleksander Antonejevic, whose baggy-at-the-ankles pants I couldn’t help but notice. They spoke simply and with smiles, lauding the competitors and explaining the rules and order of the competition.
They also read Bruhn’s statement that the prize is meant for dancers who "reflect such technical ability, artistic achievement and dedication as I endeavoured to bring to dance."
(I would have put the emphasis on the “I” in reading this, but it was read without accenting any words.)
The ages of the competitors are limited to those 18 to 23 and we had the full spectrum, from first year corps member 18 year old Hilary Guswiler (RDB) to the 23 year olds: soloists Cory Stearns (ABT) and Anthony Spaulding (SFB), demi-soloist William Moore (SB), and corps member Dores Andre (SFB).
Those in-between were 19 year old Alban Lendorf (RDB), 21 year old Rachele Buriassi (SB), and 22 year olds Isabella Boylston (ABT), Elena Lobsanova (NBoC), and Noah Long (NBoC), all corps de ballet.
Dancers would not be performing in the order presented in the program, but in the order of the lots they had drawn earlier. (That order would remain the same for the second half of the competition.) The first dances to be presented were the classical pas de deux and variations, the second set, all the contemporary pieces.
The judges (who would not be judging their own contestants) were the artistic directors (and one associate) of the ballet companies who brought competitors. The list printed in the program:
Kevin McKenzie, AD, ABT
Karen Kain, AD, NBoC
Nikolaj Hübbe, AD, RDB
Helgi Tomasson, AD, SFB
Tamas Detrich, Artistic Associate, SB
In actuality, Tomasson was not there, being replaced by SF Ballet Master Ricardo Bustamente.
First, I’ll review the classical portion of the program:
With dancers names and their dances' info shown briefly in surtitles before the curtain opened, the competition began with “Pas de Deux from Act II of La Sylphide” performed by The Royal Danish Ballet’s Hilary Guswiler and Alban Lendorf, choreography by Auguste Bournonville.
Hilary and Alban are the youngest dancers in the competition, ages 18 and 19, and in their first year in the corps of RDB. Taking that into consideration, their performance was very good and showed great promise for both. But I did not read the program notes before the evening started and took each performance at face value, not thinking of the age of the competitor at all.
Hilary’s sylph was not quite soft enough, she had little stumbles, and wobbled her landing from a jump. Her développé to the back was not entirely secure and her last développé could have been more stretched. Her feet were not pointed enough during her entrechats and échappés. As the dancing progressed, however, she got better. Hilary had a particularly nice lift to a jump where she hung in the air for a second. She moved as lightly as she could and her adherence to Bournonville style (as much as I know of it) was admirable.
Alban’s acting was somewhat stilted and amateurish. But his beats were glorious! The trademark of James’ variation, these entrechats showed why this piece was chosen for their entry. His other allegro was very clean and bright.
All in all, they were like very good students, and like students, had unavoidable weak spots. I gave the RDB competitors an overall B-.
Next came the first of two Odiles and Siegfrieds: “Black Swan Pas de Deux from Act III of Swan Lake”, performed by American Ballet Theater’s Isabella Boylston and Cory Stearns, choreography after Marius Petipa.
<-- Isabella Boylston, top; Isabella and Cory Stearns, bottom; photos Matthew Murphy
<-- Cory Stearns as Siegfried, Act III, YAGP 2001
Cory was the ideal prince, with noble bearing infusing his long limbs. He partnered Isabella expertly and the two performed as experienced ballet veterans. In his variations, Cory showed beautiful line, lofty grands jetés, soaring manège. His technique is so solid, you just sit back and enjoy his dancing with the same confidence that he performs it.
I gave the ABT competitors an overall A+.
Cory Stearns in ABT's Le Corsaire; photo Marty Sohl
Third up: Stuttgart Ballet. “Black Swan Pas de Deux from Act III of Swan Lake”, performed by Rachele Buriassi and William Moore, choreography: John Cranko.
In a difficult position, following the perfection of Isabella and Cory with the same PDD and variations (different choreography), Buriassi and Moore might have experienced more stress than the other contenders. The very first supported pirouette was off-kilter. Rachele's foot was not stretched behind her in lifts and she was musically late, missing arriving together with the music at the last dramatic beat in her first set of turns. William Moore was a considerably weaker partner than we saw in the last black swan PDD, and both lacked the dramatic flair so necessary in this piece. Rachele tried to use her facial expressions to convey the character of Odile, but the rest of her didn't follow suit. Both danced more position to position, which gave their partnership less flow. Their insecurity showed in the supported arabesque turn as well as in other portions of the PDD. William in his variation displayed the mark of a good student, but has things that need fixing, like getting his toe to touch his leg in turns instead of hovering in passé in the air.
William Moore; photo John Kannelopolous
I gave the Stuttgart competitors an overall C.
Fourth in the lineup: San Francisco Ballet. "Pas de Deux from Act II of Giselle", performed by Dores Andre and Anthony Spaulding, choreography: Helgi Tomasson after Jean Coralli, Jules Perrot and Marius Petipa.
Dores Andres; photo Erik Tomasson
The curtain opened with Dores Andre and Anthony Spaulding standing upstage in the position of the cross, Giselle in front of Albrecht, as they do in front of Giselle's grave (there were no props used in the competition). Andre's développé was very good, her promenade in plié arabesque just a little unsteady. Her entrechats sounded clunky (not good for a wraith who should move soundlessly), but her bourrées were exceptionally lovely. She danced the whole PDD and her variation with an unvarying far-off, glazed look in her eyes, her face never changing expression. It was as if Giselle wasn't seeing Albrecht instead of the other way around. Dores's articulate use of her feet was beautiful to see. Her ronde jambe en l'air to each side while in a jump were lacy, delicately precise, and very quick.
Giselle's trademark soubresauts, however, didn't get very high off the ground, leaving her with more of an earthly rather than airborne connection. Still, the general feeling one got from her rendition of Giselle was of a lonely spirit, haunted by an intangible loss. But for a few instances, she and her partner didn't really connect.
Anthony Spaulding with Yuan Yuan Tan; photo Kurt Rogers
I gave the San Francisco competitors an overall B (Andre's performance pulled the grade up).
Fifth and last of the classical repertoire: The National Ballet of Canada. "Pas de Deux from Le Corsaire", performed by Elena Lobsanova and Noah Long, choreography: after Marius Petipa.
Difficult for me to review because I've known Noah since he was 14 years old and because he and my daughter danced together, I will nevertheless be as objective as possible.
Noah Long grand jetéd onstage with a light, high jump, signaling the excitement he would bring to his role as Conrad's slave, Ali.
(The program notes give the impression that Noah is dancing the role of Conrad by stating, "At this point in the story, Conrad the pirate has rescued Medora, a Greek slave girl from sale to a Pasha's harem and taken her to his underground grotto, where, having fallen in love, they dance in celebration of her rescue." Of course, Conrad is nowhere to be seen, and we have the standard pas de deux between his slave Ali and Medora. I fault the NBoC blurb writer with this misleading info. It is Conrad who is in love with Medora, not his slave. When the piece is performed as a pas de trois, Ali serves as Conrad's aide, handing Medora off to him several times as a duty to his master.
With the above clarification, we can understand the bent head and obsequious posture characteristic of this role . However, there are points when this slave exhibits bravura, and Noah's was more of the ostentatious style bravura than the technical sort. Not that his technique wasn't good, but that his showiness outshone it. The home audience, composed in part by students of the National Ballet School and dancers in the company who weren't performing later while the votes were being tallied, went wild, as was to be expected. Those close to Noah watched with a critical eye and hope in their hearts, but had to admit his performance was a bit raw. Noah could do wonders with a good male coach. Still there was so much right about his dancing the old warhorse that it could be enjoyed with confidence that it was in good hands (and feet).
Noah's "snake" turns worked out really well for him the second time he did them, and his turns à la seconde were excellent. Dancing with elan, his variation mounted in excitement until the final dramatic fling to the floor. I would have liked to have seen a delicious breath-holding développé into second after his pirouettes. That's one of the highlights of the Ali variation and there are a couple of chances to apply it. In PDD, Noah is a very good partner and he guided and supported Lobsanova with complete assurance.
Elena Lobsanova is a lovely dancer with beautiful lines and demeanor. I don't know why she feels it adds something to her arabesques and attitudes to break the line of her foot by winging it in that characteristically NBoC style which is so ugly! Through the years I have watched female dancers at the National do this (not all of them, to the credit of those who don't) as if they couldn't call themselves NBoC dancers if they didn't. It ruins the effect of a stretched pointed foot and adds nothing to the line -- nothing! It has been one of my pet peeves about the National for years and it stresses me to see it passed on from generation to generation. I used to call it a "cupped" foot because it looks like you could pour a demitasse of espresso into it. Photos abound of National dancers, from principals down, who do this at the height of their arabesque. I am begging everyone at NBoC to please stop it!!
While Lobsanova showed she was up for tackling the Medora role, there were still a few problems. Her arms were usually stiffly held (this is also a hallmark of the National), especially noticeable in fifth en haut. This does not look pretty. Arms should be fluid, continuing the movement of the rest of the body, softly and with plastique. Such graceful port de bras was totally lacking. My notes (written in a stream as I watched) are peppered with "arms!", "stiff arms!", "terrible arms". There was a jerky développé, too-low jumps and wobbles on landings. Her fouettés were a disaster, after a good start, like a top spinning out of control, first from center stage to stage left (she's a left turner), then forced back to center stage, losing form all the while until she plumb fell out of the last of them into an ungainly position.
Were I to ignore the negatives outlined in the above paragraph, then I could say that Lobsanova danced beautifully and winsomely, doing a creditable job with difficult choreography that is in the domain of prima ballerinas and principal dancers. However, all the competitors danced such lead roles. And, I reiterate, I am wearing my armchair judge's hat, my opinions informed by my own and my daughter's training in ballet. I might not be so harsh otherwise (but, then, I might!).
Despite my nitpicking, I gave the National an overall B+.
Now you can understand why I was flabbergasted that Isabella Boylston's name was not called out as female winner of the competition. I'll bet it had a lot to do with the choice of contemporary piece. My reviews of the contemporary repertoire will be next.
From the program: “These ballets have been commissioned by each of the companies specifically for the Eighth International Competition for The Erik Bruhn Prize. They are receiving their world premieres this evening. The Choreographic Prize will be awarded to one of the participating choreographers for best new contemporary choreography as determined by the panel of judges.”
1) Royal Danish Ballet – Hilary Guswiler, Alban Lendorf
An Elegy for Us, choreography: Iain Rowe; Music: James MacMillan, Angel; Michael Byron, As She Sleeps with additional sound design by Iain Rowe
Stage has a dark cast. Piece begins with lots of walking to silence by each dancer. There are 2 chairs onstage. She sits down on one of them and the music starts. He shows off some entrechats and a grand jeté. She runs and jumps. He turns. She gyrates on one spot. She brings a chair next to his. He does a renversé and a grand jeté. She sticks her legs out. He twirls her in a split. He lifts her. He twirls her in another split. He lifts her again. The minor key music consists of chord, chord, note, note, sustained note, note, chord, and so on. They gyrate around each other. He runs and puts his chair in a new place. She gets hers and puts it right next to his. He moves his chair again. She picks hers up and places it next to his again. They sit. He moves his chair. She moves hers next to his yet again. He picks up his chair and throws it across the stage. It lands upside down. She stands stock still. He walks toward third wing. An unseen “door” opens beyond it, emitting the bright light of a room full of people partying. We hear loud party chatter (in English), above all a clear female voice whose words are distinctly understandable (I don't remember what they were, but they didn't seem to advance or explain the "plot"). He stands at the “open door”. She goes and stands next to him. They “enter” the “party room” together. The end.
My summation (there's nothing really that I can review or critique): The first of three "end of relationship" pieces, this one is a big, fat, 60s style, minimalist, experimental nothing (not to be confused with the 60s works of genius produced by Graham, Cunningham, Taylor, Alwin-Nikolais, etc.). Girl wants boy. Boy doesn't want girl. But they walk into party together. ?
The choreographer, born in 1986, is a member of the corps de ballet.
End., choreography: Marcelo Gomes; music: Franz Schubert, Piano Trio #2 in E Flat, 2nd movement (Andante con moto); piano: Mark Harjes; violin: Lynn Kuo; cello: Maurizio Baccante
Cory walks in. Isabella runs in and jumps on his back. This piece, too, is in a minor key, for it is clearly about a breakup where he doesn’t want her anymore. There is lots of beautiful, classical dancing. Isabella is in a romantic tutu with puffed sleeves and a gorgeous bodice, the just-below-the-knee skirt built up with several layers of lavender tulle covered by iridescent fuchsia chiffon. Her tights and pointe shoes are black. Cory is in grey: tights, shirt, and shoes, with a black vest.
This very balletic piece is full of advances by her and rejections by him. She goes to him, he pushes her away. There is partnering in-between the push-pull, with luscious supported pirouettes, Isabella’s foot in high passé. Her extensions are also high, and classical. A contemporary moment: She wipes his face and places his sweat on her own brow.
He resists her every time she tries to engage him. Cory has wonderful double tours, Isabella a beautiful entrelacé. She dances to him, he takes her by the shoulders and gives her two firm shakes, pushing her violently away from him. The dancers use all levels: floor, middle, and the air, to convey their feelings – she, always wanting him to take her in his arms and be hers again, and he, angrily and abruptly trying to get rid of her. Isabella’s technique shines through every movement, as does Cory’s. Her upper body is soft with expressive arms and beautiful port de bras. Her legs are powerful and confident. The music is seen through her movement. Every note of it is danced with smooth phrasing and vivid accents.
In their pas de deux parts, there are lots of backward flops into his arms. Before he strides briskly offstage, he gives her an intimate touch and with softness on his face, looks on hers with kindness (reminding me of one of my own past loves when we broke up). She is left alone onstage. She runs back and forth, then stops and reaches in the direction he left in one last gesture of painful yearning, turns and runs off in the opposite direction.
This was an achingly heartrending piece that should be seen by all for its exquisiteness. But it shouldn’t have been presented at this competition. It hurt Isabella's chances, I’m sure, by looking just too classical. Both Isabella and Cory are widely experienced in many styles of contemporary choreography, and New York is full of avant-garde choreographers who would have loved to have had the chance to compete for the $2000 (Cdn.) choreographer’s prize. I wanted everyone at the competition to see what a great contemporary dancer Isabella is. And, I would have loved to have seen Cory do something in a different vein from what I’ve seen him do before (excepting “Citizen”). I have convinced myself that the choice of this piece, as beautiful as it was, lost Isabella the competition, stellar as she was.
3) Stuttgart Ballet – Rachele Buriassi, William Moore
La Grande Parade du Funk, choreography: Bridget Breiner; music: Chris Brubeck, Convergence, 3rd movement
He is shirtless, in bermuda shorts. She is in a bathing suit (or something that looks like one). Both costumes are blue in color. As the name implies, this piece was replete with funky dancing: feet turned in, walking on pointe, body isolations. Sometimes the couple danced in unison, sometimes they were each in a different part of the space dancing independently of each other. His hands were sometimes in his pockets, lookin’ cool and easy.
Rachele Buriassi showed us sharp développés to head-height and excellent attitude turns. She and William Moore moved effortlessly through the upbeat piece which required lots of movement, something to do on every beat of the music. They were both really comfortable with the choreography – which was relatively easy – and showed the fun they were having. Some of the movements were made quirky because they were led by the head (think breakdancing). There were slides along the floor, and some simple partnering.
The audience loved the piece and so did I.
Ebony Concerto, choreography: Val Caniparoli; music: Igor Stravinsky, Ebony Concerto; clarinet soloist: Max Christie
Dressed in a black t-shirt and pants, Anthony Spaulding begins the piece with a solo which includes turns, grand jetés, and isolations. I have scribbled in my notes “he’s really good at this”. Dores Andre, in a black lacy strapless top and a black ballet skirt (like girls wear to class) contributes lots of body isolations as well -- arms, head, legs – and I’ve written “she’s really good, too.”
More grand jetés, jazzy moves, different ways of touching and connecting, all to a fast tempo. They cavort on the floor and several other levels. In a neat move, they’re both supine, she atop him, and he rolls her off in a sushi-roll-making motion. They dance different things concurrently on different parts of the stage (as in the last piece), then unite for some arm-y pas de deux. Drumbeats signal a new section of the piece, which is a different kind of push-pull – sort of a can-you-top-this? competition.
Spaulding has soft-as-a-kitten landings. Andre has nice arms. This is a long piece that you wish would go on and on (I noted “best!”, as in best contemporary offering). The music is wonderfully utilized, with continuous movement that makes sense.
I was sure Val Caniparoli would win the choreographer’s prize with this innovative contemporary work.
5) National Ballet of Canada – Elena Lobsanova, Noah Long
Dénouement, choreography: Matjash Mrozewski; music: Paul Tortelier, Suite in D minor for solo cello, movements 1 and 4
Noah Long: shirtless, with long maroonish-brown striped pants, brown ballet slippers
Elena Lobsanova: hot pink short shorts with a lacy maroon turtleneck top, pointe shoes
Matjash Mrozewski’s overly long rendering of his "anticlimax", while interesting in its use of space and form, was not a winner, in my estimation. I was sure they would call out Val Caniparoli’s name for the choreographer’s prize. I liked the piece well enough, and there were some nice lifts and a couple of attention-grabbing positions, but long before the end I was wondering when it would. That’s not a good sign.
Elena danced assuredly, displaying shapely extensions with no broken-foot “cupping” (see my first review of NBoC). Noah is an extremely sensitive partner who handles quirky choreography with aplomb. Perhaps due to the energy demands made by its length, it became noticeable toward the end of the piece that they were both working – not dancing – it. The final pose, a head-to-head embrace, came as a welcome relief for both dancers and (some of us in the) audience.
Friday, March 13, 2009
Giselle Herrera (her mother: Maria Bystrova; her "Loys": Marcelo Gomes): If I'd known he was going to leave Bathilde for me, I would have been fine. We were so in love. Why couldn't he tell me about her? Why did he keep it a secret? I trusted him completely. It's her I don't trust!
Giselle Reyes (her mother: Susan Jones; her "Loys": Jose Manuel Carreno): I had eyes only for him and thought he had eyes only for me. The shock of it all is hard to get my head around. How could he do this to me?
Giselle Riccetto (her mother: Nancy Raffa; her "Loys": David Hallberg): He was so innocent! I felt like I knew everything about him, he was so open and endearing. I wouldn't have believed he could do anything like this. It seems impossible, even now. Mama was right. She's always right. Why, oh why, didn't I listen to her?
Giselle Herrera: Mama was smart. But this time she was wrong. He really loved me. I really loved him. He could not pretend a love so true. We were as one from the beginning. Even our hearts beat as one.
Giselle Riccetto: I don't know if he loved ME the way I loved him. We were having such fun! Mama warned me about boys, especially boys she didn't know. But none of the other village boys made me feel the way he did. I couldn't help falling for him. He made me tingle!
Giselle Reyes: Mama told me to watch out for all boys, even the ones we knew. They'll do anything to get you to like them, because they have only one thing on their minds, that's what mama said. But Loys wasn't like that, I told her. She still didn't believe me. At least, she didn't think that I knew how to be careful. I had to pretend that everything was okay, but I was a little worried, too, especially when he ran off without telling me and I had to look all through the crowd for him while the Countess was waiting.
Giselle Herrera: I wasn't worried at all. So he disappeared for awhile! Maybe he went to feed his horse. I knew he'd be back. We couldn't stay apart for more than a few minutes.
Giselle Riccetto: I though perhaps some other girl had gone for a stroll with him. I saw a few of the village girls flirting with him. I can't say I blame them, he's so cute! But he told me that I was the one and that we would be married. I was more worried about how I would tell mama about THAT.
Giselle Reyes: I know. She would have tried to talk me out of marrying, especially since she was so protective of me. Yes, I had a weak heart, but I always slowed down when I felt it start to race. I felt fine otherwise.
Giselle Riccetto: Me too. I knew how to handle my heart. But mama was so anxious every time I danced and always brought up the Wilis. It was embarrassing when she told the whole village the story. I hate to be the center of attention. Except when I'm dancing, of course!
Giselle Herrera: Oh, how I loved to dance! It brought me more joy than anything else... that is, until he came along and made me know greater joy than I thought possible. Oh, how he made my heart jump -- in a good way! I even thought that it would help my heart heal, being in love with him. Those troublesome palpitations would ease because I felt so calm and secure with him. I thought he could protect me from everything, even my weak heart.
Giselle Reyes: But instead, my heart was hit with a pain sharper than any pain I had felt before . When the Countess claimed him as her fiancée, he took her hand and looked away from me. It felt like a dagger had pierced my heart. I ran to mama and collapsed. When I rose again, I felt as if the earth had swallowed me up and I was but a ghost which drifted out of my physical body. Everything went blurry. I saw Loys and me through a haze as we had been, dancing and in love. Then I was pulled into a dark void. I remember nothing after that.
Giselle Riccetto: I saw the look on Loys' face. It was shell-shock. I saw that HE needed protection and would not be able to do anything to help me. Did he even care about me anymore? Did he not remember how he showed me what the daisy said? How we danced and were so carefree? Why didn't he look at me? I lost it. Every fiber of my being was screaming. I couldn't stop the sensations, the pain. I needed only escape. Stumbling on his sword, I knew the only thing I wanted to do was drive it into me. Nobody could help me now. But it was seized from my hands, and then I had nothing with which to stop the pain. I couldn't see a way out. Where was Loys? Where was mama? Where was I? I just ran. Then I blacked out.
Giselle Herrera: He started toward me -- he never stopped looking at me. But she pulled him back. I thought she would make him leave with her! NO! NO! We love each other! Don't leave me, don't leave me, don't leave me! Remember -- we love each other! Mama, help me. Mama, where are you? I can't see you. No -- it's her! She's still here! Run, run, I've got to run .... away from her. She's the enemy. Loys, I can't see you! Loys, LOYS! I need you! Mama, where is Loys? Oh, mama-a-a.....
Giselle Herrera (her Myrta: Simone Messmer: her Albrecht: Marcelo Gomes): I heard my name being called. I was still Giselle! But I wasn't moving of my own volition.....I was being pulled from my grave by a force I couldn't resist...
Giselle Riccetto (her Myrta: Michele Wiles; her Albrecht: David Hallberg): I didn't know where I was but I seemed to know what to do.
Giselle Reyes (her Myrta: 1st: Gillian Murphy; 2nd: Veronika Part; her Albrecht: Jose Carreno): It was like a dream, only real, but not earthly. I had to go, but I had no freedom.
Giselle Herrera: I felt frozen....I couldn't move my legs. But yet they moved, and made me step toward her.
Giselle Reyes: I didn't know what I would be doing next.
Giselle Herrera: All of a sudden, I was spinning uncontrollably!
Giselle Riccetto: I felt as if I would soon be flying!
Giselle Reyes: It released me! I started to dance and this made me feel like myself.
Giselle Herrera: I couldn't stop and I didn't want to stop!
Giselle Riccetto: I was no longer frightened.
Giselle Herrera: Then, she sent the Wilis away and I was left alone in the forest. Soon I saw why. It was my beloved! He was coming my way. I ran out to be with him -- but he didn't see me! I had to make him see me!
Giselle Reyes: So I ran right toward him so he could feel me in the air -- and he did!
Giselle Riccetto: He lifted me up for just a moment. He touched me!
Giselle Herrera: He knew I was there. When I circled him, I surrounded him with my essence. He felt my touch on his shoulder!
Giselle Riccetto: I tossed two of his lilies into the air so he could be sure it was me.
Giselle Reyes: Then he knew. When he picked them up, he knew it was really me.
Giselle Herrera: Right after that, she had Hilarion danced to death! She was going to mete out the same fate for my Albrecht. I would not let her!
Giselle Riccetto: He had to be saved. I had to find a way.
Giselle Reyes: I would not let him die. I loved him!
Giselle Herrera: I begged for his life to be spared. She grew colder the more I pleaded, but made me even more determined.
Giselle Herrera: He must stay by the cross. The cross on my grave would protect him.
Giselle Reyes: But he did not stay! I tried to keep him there by coming between him and her and making the sign of the cross with the fortitude of my love, but it only held him for a moment!
Giselle Herrera: I had to help him dance.
Giselle Reyes: And I couldn't let her see I was helping him!
Giselle Herrera: She was so angry that I had defied her that I lost some psychic capacity!
Giselle Riccetto: But my resolve returned and, with it, my will.
Giselle Herrera: Together, we appealed to each Wili to have mercy.
Giselle Reyes: But they are ruled by her and stand as one. We had only ourselves to outwit and outlast the authority of the Queen.
Giselle Riccetto: And my Albrecht was beginning to fade!
Giselle Reyes: But we were confident in our love, and love assures that when one is weak, the other becomes stronger.
Giselle Herrera: That is how we were able to confound the evil.
Giselle Riccetto: When he could no longer hold himself up, I bore his weight.
Giselle Herrera: I carried him through his dance! I sustained his every movement. I know he knew it!
Giselle Reyes: I danced alone as long as I could. Then, when he had to dance, I watched him closely and ran in again when he started to flag.
Giselle Riccetto: We were in a new world of our own making! I knew we could do it -- our love would withstand our opposition.
Giselle: Herrera: And it did. The bells announced the arrival of day. The Wilis and their Queen became impotent once again.
Giselle Reyes: I felt a peace embrace me and yearned to return to my grave.
Giselle Riccetto: I knew something wonderful would happen when I did.
Giselle Herrera: My sweet love was alive. I had redeemed him and he had saved me! I could now go to my rest in peace and wait for him-- as a rightful spirit -- to join me in the afterlife when it was his time.
Thursday, March 12, 2009
1) The National Arts Centre's Southam Hall, the main stage theatre, has 2323 seats and they were either completely filled or just about completely filled for all 4 performances of ABT's Giselle. What recession?
2) The audience, which might have been as much as half Québecois judging from the amount of French I heard (the Quebec border is just minutes away), was enthusiastic in a conservative Canadian way. Lovely people milled about during intermission, a great proportion of the women queued up (as we say here) in the endlessly long but swiftly moving washroom lineup (rest room line), expressing their generic delight in the daisy-plucking scene and in how beautifully everyone danced.
The next night, I'm all atingle waiting for Marcelo's entrance. There he is! Wild clapping on my part. Did I hear one other person applauding? I think I did! Paloma got my appreciation next. I may have been the only one. Or perhaps it was her entrance that elicted someone else's acclaim. The hand chimed in after mine, so it was a copycat effort, but I'm glad I wasn't the only one this time.
On Saturday, David Hallberg and Maria Riccetto received my ovation. Only mine. Saturday, Jose and Xiomara again heard the sound of two Estonian hands resoundingly clapping in an otherwise hushed hall.
Now, is this the way Ottawawians (that's my own word since I don't know how they call themselves -- probably Ottawans) greet their ballet stars, or is it just that not a soul in the audience recognized ABT's principals or was familiar with Giselle's opening sequence of their introduction to the stage?
4) At the end of the performance Thursday night, all received proper laudation, but not as much as a single flower to sniff between them. Friday brought the blooms, one for Paloma and one for Marcelo (I'm sorry I've forgotten whether Simone received such a tribute). Saturday matinée had the same long-stemmed flower, one each for Maria and David, but in the evening José and Xiomara again were left flowerless.
5) There were no curtain calls after Act I. That was disappointing, as eager was I to applaud the dancers who performed the peasant pas de deux, the Berthes, the Bathildes, and even the Wilfreds. The entire audience would have loved to give the elegant Russian wolfhounds a hand!
6) Binocular rental was only $3.00 (and your photo ID was taken hostage until their safe return).
Under-theatre parking was only $10. While leaving en masse, traveling through the multi-tiered underground maze following the exit signs that seem to take you in circles, no one honks their horn, ever. This is not New York, or even Toronto. Canada's capital city can be proud of the deportment of their denizens and its visitors.
7) David LaMarche is such a kick to watch conducting. His precise, brisk baton-waving provides a pleasant visual during the overtures.
8) I didn't have a backstage pass, but I had dancer friends to see, so I inquired of an usher how to get backstage. She said I could try knocking on a certain door and see if they'd let me in. After opening a door which led upstairs and to a locked door, I (along with my daughter who is always aghast at my brazenness) came back down and discovered an unmarked door with no doorknob next to the one I had opened. So, I knocked on it, Järvi imploring me to forget about it. Lo and behold, after a bit of rapping, the mystery door open-sesamed.
I was asked my business and whether I had a backstage pass, and after explaining whom we were there to see, we were admitted and told to "sit there". After a short while, Isabella Boylston came rushing toward us, arms outstretched, and we met with a warm hug. I then moved aside to reveal my daughter, and Isabella, seeing her old friend, squealed with joy and the two of them embraced and chattered excitedly. It had been 7 years, 7 months since they last saw each other.
Afterwards, I asked Järvi whether she was still upset with me for my chutzpah. No, she responded, she was glad I had persevered. It had been a wonderful reunion. Remembering how I had been just as shy at her age to do such cheeky things (reticence learned from my own mother who would NEVER be so bold), I hoped that as she got older, my daughter would become more brassy too. It makes life much more enjoyable. :)
9) Tidbits learned from conversation with Isabella Boylston:
a) the stage was much smaller (although it seemed quite large to us in the audience) than the one at the Kennedy Center from which they had just come, and the Wilis had to close their ranks in order to fit on it. That made for less expansive movements and smaller steps on the part of the corps. We who watch from the other side of the curtain rarely think about such nitty-gritty issues.
b) Isabella was so pleased to know we were there watching her. She wished she would have known before the first performance (we visited after the second). It's nice to know you've got friends in the audience.
Tuesday, March 10, 2009
Ernesta Corvino and Elias Colon
Order of male peasants as I would like to see them dance this PDD again:
Order of female peasants as I would like to see them dance this PDD again:
Thursday evening, Feb. 26th, 2009
Sarah Lane and Daniil Simkin
Daniil’s high-flying cabrioles, juicy renversé, dazzling double tours en l’air, suspended-in-air croisé jetés in attitude, brilliant beats, bravura finishes, combine to create a peasant pas de deux with variations that becomes a new benchmark for male dancers. Not since Herman Cornejo has there been such radiance in the male part of this PDD at ABT.
An almost flawless frolic, the only poor marks in his partnership with Sarah Lane go to the supported pirouettes in which the first couple of times Sarah's rotations were turned by Daniil off center, looking like the Leaning Tower of Pisa. One seldom knows while watching whether this is the fault of the ballerina, her partner, or a little of both. It happens quite a lot, even with world-class dancers, that it only goes to show how difficult partnering is – but, of course, dancers try to avoid it. Being askew is not an attribute in ballet unless it's mandated in the choreography. ;)
Sarah Lane in peasant pas de deux
photo by Rosalie O'Connor
Sarah Lane performed vivaciously, like a glittering little gemstone within an ideal setting. Her turns, extensions, jumps and balances were noteworthy. I’m afraid, though, that her pairing with Daniil Simkin is relegating her to a sort of second place in any pas de deux they do together. He is so unpretentiously flashy, and the audience is still so interested in every move he makes, that, untraditionally, all eyes are on him instead of the ballerina he’s presenting. Thank goodness for solo variations. They give the girl a chance!
Friday evening, Feb. 27th, 2009
Yuriko Kajiya and Carlos Lopez
Rapidly becoming one of my favorites, Yuriko Kajiya danced a joyful pas de deux befitting the grape festival it was a part of. Carlos Lopez was all smiles as well and the two presented a competent, happy dance. Kajiya was the one to watch. Her long lines and soaring grands jetés, beautiful turns and camera-friendly poses are very appealing. She is well-trained, dancing above her technique, but seems to be best suited (so far) to pretty ballet parts where she displays a freedom of movement to match the delight so evident in her face.
Carlos Lopez, bless his heart, danced with expertise and joie de vivre, giving it all he had. What he doesn’t have (since we’re comparing) is perfect line (and it shows in the many arabesques), a dependable landing (he landed all his tours, but in a couple of them you could see the relief/surprise on his face that he didn’t wobble), or higher than 90˚ arabesques. When he lands in arabesque plié, his working leg doesn’t have that extra lift that is so nice to see. He is, however, lovely to look at and with Kajiya, they accomplished a satisfying PDD. I’d like to see each of them with a different partner, though. I think it would be a good thing for both.
Correct me if I’m wrong (somebody, please! – one of the dancers maybe?), but I don’t think Carlos Lopez and Yuriko Kajiya performed the pas de deux. I have it marked twice in my notes that they didn’t do it. They certainly did the variations and coda, but I was surprised (after seeing Daniil and Sarah the previous evening) that they left it out. The other couples in the following two performances performed it. Why did I come away wondering what happened to it?
Saturday matinée, Feb. 28th, 2009
Misty Copeland and Craig Salstein
Here’s a coupling made in Heaven: Ms. And Mr. Excitement! Vigorous spirit defines Misty Copeland’s approach to every role and she handled the part of peasant with her usual hearty flair. Craig Salstein matched her in flamboyance, notably in every secure landing of his perfect tours en l’air. Together, they presented a display of showmanship that was more an “anything you can do…” contest than a classical period piece. It was tremendous fun to watch, but it isn’t what the peasant pas de deux is about.
Misty is ABT’s anomaly, a brilliant dancer who doesn’t fit the usual mold but who transcends the norm in an utterly winsome and gifted way. The peasant pas was a piece of cake for her and she fluently flew through it.
Salstein left me with pretty much the same feeling. This was a lark for both of them. I did prefer his arms-outstretched “ta-raa!” landings, especially those on one knee, to a dancer who shows no emotion at the end of his feats. I can’t exactly put my finger on what was lacking, or, perhaps, what was too abundantly offered. That’s why I want to see him do it again.
Saturday evening, Feb. 28th, 2009
Isabella Boylston and Blaine Hoven
I’m watching a MASH rerun as I write this and Hawkeye Pierce just wisecracked “she’s a girl with so much body it should be continued on the next girl.”
What an apt line to describe some dancers! It could easily be applied to Veronika Part, and, for the male counterpart, to Marcelo Gomes.
Since I’m writing about Isabella Boylston, my knee-jerk response is to associate the remark with Isabella’s technique and presentation, of which she has more than a full share. Isabella’s dancing in the peasant pas de deux brims over with joyful energy, unassailably pure technique, and natural musicality. This is the foundation upon which she displays her balletic wisdom, trained into muscles and mind since early childhood. Isabella Boylston’s performance savvy, acquired through years of opportunities afforded her in starring roles at ballet school, principal level variations and pas de deux in prestigious ballet competitions, and a grounding in company work at ABT II before joining the main company, has enabled her to reach a point of maturity at the age of 22 that many dancers fail to achieve in their dancing lifetime.
Isabella Boylston and Joseph Gatti at the New York International Ballet Competition, 2005;
photo by Joseph Schembri
Youth America Grand Prix 2001
To witness her attack in arabesque and attitude, her crystal sharp space-carving in grand ronde de jambe en l’air, her straight-arrow piqué turns, her whirling-pinwheel supported pirouettes, her jump-over-a-haystack leap, is to see a dancer so secure in her skill that she can let herself justly enjoy the purity of the movement. She even walks on pointe with a stride that declares it preferable to walking on flat. With charming finesse, Isabella enhances her variation with just the right amount of sweetness, personality, and poise. Until now, my most memorable peasant pas de deux soloist was Erica Cornejo. I now have a new point of reference. :)
Isabella Boylston and Cory Stearns in
Benjamin Millepied's "Without";
photo by Andrea Mohin, NYT
Blaine Hoven was a strong partner for Boylston who facilitated her pirouettes and lifts with ease. The two danced in lockstep synchronization, adding an eye-pleasing element to their duet. Hoven impressed with high sautés and clean turns, smartly-beaten cabrioles, attractive arabesques and secure landings. However, he does not leave one with with an unforgettable picture. There’s nothing in particular to draw out of one’s memory and savor afterwards. I’ve seen him in other ballets and find he is a bit of a chameleon, adapting himself to a role even in changing his outward appearance. The day you’re looking for his mop of blond curly hair onstage is the day he’s got it gelled straight and combed close to his head. His dancing varies, too. This day, his peasant pas interpretation wasn’t at its pinnacle.
I have a few more tidbits to share with you in the next day or two. I’ll wind up my posting of these performances after I’ve added them.
Sunday, March 8, 2009
(Moyna: Melanie Hamrick; Zulma: Kristi Boone)
Simone Messmer (February 27th, 2009, 8 pm Friday evening)
(Moyna: Melanie Hamrick; Zulma: Leann Underwood)
Michelle Wiles (February 28th, 2009, 2 pm Saturday matinée)
(Moyna: Isabella Boylston; Zulma: Zhong-Jing Fang)
Veronika Part (February 28th, 2009, 8 pm Saturday evening)
(Moyna: Simone Messmer; Zulma: Yuriko Kajiya)
|Gillian Murphy as Myrta in Giselle, Act II|
Andrea Mohin photo
With menacing music to set the mood, the curtain opens on a clearing in the middle of a forest. There is a lake in the distance.
Huge, dark trees surround the glade. It is close to midnight and an indigo aura is suspended over the woodland. Hilarion is down on one knee fashioning a cross for Giselle’s grave.
All of a sudden, a gossamer apparition scurries across the far side of the clearing. Massive strobe light flashes illume the atmosphere.
Another wraith, and then another, flutters across the space.
Hilarion, after planting the finished cross, runs into the woods. Out of the blue haze, a veiled phantasm bourrées diagonally across the clearing with a fleet-footed swiftness that can only be compared to the blur of a hummingbird’s wings.
Who IS that masked Wili?!!?
Gillian Murphy reenters after doffing her veil, to begin Myrta’s arabesques in promenade to penché, one sequence on each leg. Then, she starts her ritual of claiming the glade for the night.
Murphy’s assured arabesque hops, her mime calling for the Wilis to rise from their graves, her grands jetés, entrechats, entrelacés, step piqué turns, were well, if perfunctorily, performed with authority and a straightforward approach.
The only thing that tainted her incredible initial effect was the clunky sound of her pointe shoes in the slow bourrées which followed the opening diagonal. I couldn’t believe it was the same dancer who had soundlessly sped over the same ground just seconds before. (In fact, I had to ask a dancer backstage the next evening if it had, indeed, been Gillian. Doesn’t she wear Gaynor Mindens?)
Part of the noise factor was due to my seat being in the first row, just an orchestra pit away from the stage, and the softness of the music. When the Wilis came onstage and began their dance, the clatter of their feet also belied their diaphanous appearance.
Gillian Murphy’s Myrta qualities can be described as somewhat remote, insular, and arctic cold. Although the character might warrant such a portrayal, Murphy did not leave me with the impression that here was an outstanding Myrta. (I had to wait until Veronika Part’s Myrta to feel that way.)
Melanie Hamrick’s Moyna was beautifully danced, with lilting sautés and delicate, expressive arms. Her piqué to arabesque was sharp and precise every time.
Kristi Boone, with her longer limbs, provided an expansive contrast. Lovely, floating arms and sustained hold on her renversés – those attitude turns where you leave your head behind, bending it toward the audience as you turn.
|Melanie Hamrick and Roman Zhurbin|
The corps de ballet was, for the most part, a cohesive unit. However, in the Wilis’ famed crossing (as well as in the Act I village girls’ always exciting long rotating line, the Count at one end, Giselle on the other) there was one head toward the back of the pack bobbing out of sync with the others, always a fraction of a second behind.
When it came time to dance the men to death, Murphy’s Myrta hardened even more, carrying her stiffness into her back. She proved an immovable force, but was not all that interesting to watch, much is the pity.
Her major dancing work is done and she must now wow us with her acting. There wasn’t anything distinctive in it, no unique touch.
So, I only have one memorable Myrta moment to share with you, the Act I opening bourrées. They were so spectacular that I expected something to match them in Act II.
I have an orchestra moment, though. Two of them, in fact, both occurring in the same performance, the first one, on Thursday.
1) As the first violinist guides his bow to draw out the plaintive strains which accompany Count Albrecht’s steps toward the grave, his very first tone is off and he has to slide up to the correct note. The result is truly a mournful cry!
2) Later on, and I no longer remember where in the ballet, a brass instrument blatantly honks our a sour note. Poor guy, but so funny!
Richard Termine photo
Her reverential bend to the ground (while quite beautiful) was softer than the other Myrtas’ had been, and lingered a fraction longer.
The arabesques in promenade were secure, the steps following accomplished, but Messmer did not stage enough of a foreboding environment.
Her severity increased as Act II continued, and by the time Hilarion (Isaac Stappas) was brought before her, she was a match for his Act I arrogance.
He was dispensed with and Count Albrecht (Marcelo Gomes) brought in without delay.
The Count’s complex personality was more of a test for Myrta, who adopted a determined stance in order to deal with him. Messmer commanded, Gomes complied, but with a flair, even in his despair, that took all attention off the Queen of the Wilis.
Melanie Hamrick as Moyna turned in another lovely performance and the debut of picked-from-the-corps Leann Underwood as Zulma was well-noted.
It’s nice to see young talent given such opportunities so early in their ABT careers, but I think I would prefer to see a corps member who’s been giving her all for years get such a break.
Underwood did do a beautiful job – she’s a beautiful dancer – and it was nice to get a better look at her, nonetheless.
|Michele Wiles as Myrta|
Gene Shiavone photo
Michele Wiles is an enigma to me. I’ve seen her do spectacular things since she was in her early 20’s. She is superbly trained and her career soared in an enviable flight path, the perfect dream of young ballerina hopefuls everywhere.
Yet, in certain ballets, she just leaves me wondering why I was not more impressed with her prodigious talents.
As Myrta, she has no opportunity to hold endless balances, turn phenomenal pirouettes, or even to move fast.
In fact, her chance to really move during her opening bourrées was not optimally used, and her feet were relatively slow. (Of course, by the time I saw her Myrta, I was measuring opening bourrées against the incomparable Gillian Murphy’s.)
Even her pointe shoes didn’t seem to be right for her beautifully shaped feet (I know her feet and these shoes made them look like someone else’s), and their trademark color pink was too jarring for this white act. I also wanted to see more turnout in her bourrées, more heel-to-heel action.
Taken by itself, Wiles’s performance was outstanding. Her strength of technique, flying jetés, rocket-straight jumps, and effortless turns carry her through the role, but hers is a frigid Myrta who seems to be off in her own world as she goes through the motions her character makes, movements that must be second nature to her by now.
I wish I had more illuminating things to say about her performance. I spoke of her moving fingers in the Myrta roundtable, and that was a curious thing.
It occurred as she stood to the side with Moyna and Zulma, and because of my end of the front-row seat on the same side, I could see her almost vibrating fingers close up. It seemed involuntary, but one could read plot-led motivation into it, if one wanted to conjecture. At least, it made for an interesting thing to watch.
|Isabella Boylston and Cory Stearns|
in Black Swan PDD
Isabella Boylston danced Moyna with such polish and richness of movement she reminded me of a chilled Bavarian cream – cold, smooth, and refreshing.
Cold as a Wili should be, but with a creamy smooth delivery of dévelopés and arabesques, and a refreshing new dimension to Moyna that I had not seen before.
Isabella gives Moyna’s choreography a nudge as she holds a balance longer, step piques more sharply into a high arabesque and lets her leg continue to rise...
...as she flies high and covers space voraciously in her glissades assemblés, fairly spins in arabesque, and piqué-turns down a diagonal with high-passé-ed rapidity.
Susan Biddle photo for The Washington Post
Zhong-Jing Fang's Zulma was danced correctly, but, if she was feeling it, her emotion didn't translate over the apron of the proscenium stage.
She made an attractive cohort with her beautiful renversés, but her performance was otherwise unmemorable, at least to me.
(I have to admit I was distracted by revisiting Isabella’s performance in my mind while I was watching Fang.)
|Veronika Part as Myrta|
She is the coldest Queen of the Wilis of the four Ottawa Myrtas – imagine, even the city presented a proper setting of chilling, shivering temperatures -- but you warm up to her immediately.
Does that make any sense? She was Marcelo’s match for charisma, sheer gorgeousness, inducing you to watch her every move. Her prey – Hilarion Gennadi Saveliev and Count Jose Manuel Carreno.
They didn’t have a chance in her hell. Xiomara Reyes should have been putty in her hands, but proved to be a capable redeemer for her Count, love winning over torment.
Veronika Part (who is Estonian on her father’s side, thereby sharing a nationality with me, making me doubly proud) is an open dancer with a meticulous Kirov technique.
Years in the States, and dare I say, years as a soloist, have enhanced her performance skills by stretching her abilities in all directions.
She has been ably challenged with modern choreography, in which she excels, as well as classical warhorses which have given her some battle scars but which have also brought to the fore her strengths and many virtues. She’ll be cast as the star in one ballet and demoted to co-soloist the next.
By the time she’s made principal (Kevin McKenzie, do you hear us?) she will have earned her rank through blood, sweat, and tears.
She talked about leaving ABT last year. I surely hope she has incentive to stay beyond this season’s contract.
Everything Myrta is choreographed to dance, Part takes to a new level. Her jetés are long, gliding, space-eating leaps, carried by the wind like paper airplanes.
Her développé à la seconde is lifted with the steadiness of a hand-held helium balloon slowly allowed to rise by releasing its string in increments with utmost care against the pull of the earth. Her downstage jetés in attitude come right at you as they reassert her ownership of the space.
Part successfully tempers her frostiness with velvety arms and épaulement. Lovely things happen in her upper body that do not detract from her pitiless posture nor mitigate her intensity.
Part brings passion to Myrta in the form of cold obsession. Not everyone could pull this off and still appear menacing. It’s part superb training, part the voluptuousness of her curvy body, part Part.
This Wili’s rebuke to the pleading Giselle is to haul her Count over the coals. Were it not for the mystical strength of love equal to Myrta’s own supernatural power and the chiming of the four o’clock bells, Count Albrecht would have been doomed at her hands.
All that’s left to say is Brava!
Simone Messmer’s Moyna showed that she was still wearing the previous evening’s mantle of Myrta as she carried off the sequences of steps in her variation with a vivid frostiness.
Yuriko Kajiya danced an engaging Zulma, being so physically suited to the part. With an introductory dévelopé exhibiting her lovely line, a floating renversé in her variation, she looked lovely.