The American Ballet Theater at the Met

Last week The American Ballet Theater announced casting for the first two weeks of its summer program at the Metropolitan Opera House in New York.
The Opening Gala on May 22 will showcase 9 dances: ballets (Other Dances, Shadow Song (world premier), Le Corsaire Suite, Apollo, Chaconne) and excerpts from full-length ballets (Giselle, Manon, Swan Lake and Sylvia). In my opinion, Chaconne is of particular interest in this program. Choreographed by George Balanchine and set to music of great Russian composer Igor Stravinsky, this ballet is a company premier.

Chaconne was created by Mr. B for the New York City Ballet (Suzanne Farrell was the original ballerina and her name is still associated with this work.) Balanchine was fascinated by the elegiac music of Gluck’s 1762 opera Orpheus and Eurydice. In this ballet he used musical excerpts composed for dances featured in interludes of the opera. In Chaconne “Balanchine’s choreography is at its most signature neoclassicism, a unique, synthesized, yet autonomous vocabulary.”

Starting May 23, the ABT presents 4 performances of Le Corsaire staged by Anna-Marie Holmes, after Marius Petipa and Konstantin Sergeyev. I would recommend the evening of May 25, when a “bravo boy” of the company Marcelo Gomes will dance the leading part of Conrad with enchanting Julie Kent (Medora).

Evening of May 26 will open All-Star Stravinsky Program. The ABT is giving 8 performances of three ballets set to Stravinsky’s music: Apollo, Jeu de Cartes, and Petroushka. John Cranko’s Jeu de Cartes, staged by Jane Bourne and featuring scenery and costumes by Dorothee Zippel will be also a New York company premier.



Julie Kent and Marcelo Gomes will lead Company Premiere of James Kudelka’s Cinderella on Friday evening, June 2. Composed by Russian Sergey Prokofiev, this ballet is about... Well, in short, it’s a Cinderella story.

The second part of the ABT program in New York from June 12 to July 15 will feature the classics of ballet repertoir: Giselle, Manon, Swan Lake, Sylvia, and Romeo and Juliet.

The Washington Ballet: From Barre To Bach and The Beatles

The Washington Ballet is back on its feet, presenting two world premieres united under a title “Bach/Beatles Project” at the Kennedy Center’s Eisenhower Theater. “How wonderful to be back in the studio!” remarked Artistic Director of the Washington Ballet Septime Werbre before the curtain rose after the newly negotiated labor contract finally put an end to a lengthy period of cancellations, uncertainty, and unemployment for the company’s 20 dancers, returning them on stage.The first part of the program, “State of Wonder,” was set to Bach’s Goldberg Variations. Septime Webre choreographed a spectacle of 32 intricate miniature dances to the arias, 29 variations and the Quodlibet, some of them lasting less then two minutes. The program unfolds in three sections or acts. The first act was accompanied by Glenn Gould’s early recording (where he plays it fast, faster, and very fast) and began with a solo performance by Jonathan Jordan to the ever gorgeous aria. And then variations began: variations in music, tempi, costumes, and choreography. Costume designer “Vandal” outfitted the entire troupe in identical (and not-very-appealing) skimpy gray outfits: little shorts and shirts. (I thought it made dancers looked like Charles Dickens’s Oliver Twist orphans in their sleepwear.).
With dazzling speed the dancers appeared on stage, twisting and turning their bodies, rotating each other, and leaping in the air; men lifting, throwing, and catching men; men lifting, throwing, and catching women… They were gymnasts, acrobats, runners, figure skaters, martial artists, and ballroom dancers. At their best, their performance was electrifying and technically near flawless. Dancing in threesomes (Variation 6) demonstrated that the extra pair of helping hands makes lifting and spinning ladies in the air look remarkably effortless. A golden girl of the Washington Ballet, gorgeous Michele Jimenez, was very effective in duets with Luis Torres and Morgann Rose. Her polished movements, breathtaking extensions, and absolutely astonishing flexibility made her a centerpiece of the show. [According to The Washingtonian, Jimenez will leave Washington for the Dutch National Ballet in August. -- CTD] During the first ‘intermission’ two quartets of the dancers rolled a harpsichord on stage (with harpsichordist Scott Dettra) and a piano (with a pianist Ralitza Patcheva), in what appeared to be a waltz of these two instruments. After a little dance, the piano left the stage and gave place to the instrument Bach would have had at his disposal.

The second act brought a change in tempi and clothes: slower, dotted with colored skirts and dresses for the corps, which proved easier on the eye than their original mouse-colored underwear. The slower music transformed the nature of the choreography: dances became more sensual and amorous. One of the most memorable performances in the harpsichord part was a love-duet by Laura Urgelles and Jonathan Jordan in a traditional classical ballet movement set to Variation 21. Their performance had so much elegance and tenderness, one didn’t want this dance to end. The martial arts scene completed the second act and the piano returned on stage. Men changed skirts to colored pants and the women's dresses acquired more sophisticated design. As music became slower so did the pace of the dances: in the beginning of the third section it was almost like watching a movie played at a very slow speed. It all changed when Jason Hartley and Jonathan Jordan flew on stage, proving wrong anyone who says “White men can’t jump.” The Aria Da Capo fluently danced by Jason Hartley completed the Bach program. Webre’s Variations received a warm approval from the audience.



After the intermission it was a Beatles-hit-parade. Choreographed by very-much-in-demand Washington Ballet resident choreographer Trey McIntyre, this ballet was titled “Always, No Sometimes.” It was a concert and a dance performance altogether starring John Lennon and Jason Hartley. Dressed in all white by costume designer Liz Prince, the Washington Ballet showcased McIntyre’s innovative and compelling approach to modern dance. The Beatles if singing today couldn’t have asked for better staged and executed backup dancing.
“Successful choreography uses the inherent beauty of the ballet vocabulary to meaningfully engage the audience, creating the opportunity to connect to the human experience. My work explores the beauty of that experience,” said choreographer in his artistic statement. He created “The 12 Beatles dances” right in the studio working with performers one-on-one. “Think creatively. Let your body react emotionally, make it more sensual” – his advice to a successful interpretation of his ideas. And he does have many original and innovative ideas that make his choreography so novel and engaging. From more than 200 songs recorded by the Beatles, the choreographer made a selection of songs with different melodic traits: from dreamy “Mother Nature’s Son” and romantic “Blackbird” to jazzy “Ballad of John and Yoko” and happy “Ob-la-di, Ob-la-da.” The company’s principal dancer Jason Harley truly shined through the entire performance exhibiting impeccable technique and musicality. At the end of the program he rightfully received the loudest “Bravos” from the audience. Michele Jimenez was mesmerizing in her marionette-like dance set to a John Lennon’s song “Julia.” This program will be enjoyable to watch not only for ballet lovers but also for everyone who has a personal connection to the Beatles music.



As the curtain went down, the audience stood up rewarding the performers and creators of the “Bach/Beatles Project” with a standing ovation. If anyone had doubts about the future of the Washington Ballet, after this program, it’s obvious -- the company is back in business. Hopefully for Always, No(t) Sometimes.

The repeat performances are tonight at 8pm, Saturday at 2:30pm & 8pm and Sunday at 1pm & 5pm.

New York City Ballet: The Russian Firebird

The Firebird was a highlight of the opening night of the New York City Ballet at the Kennedy Center’s Opera House.

“Prince Ivan, the hunter, wanders into a magic wood and captures the Firebird. On her pleading, he frees her, and she rewards him with a magic plume. Kastchei, the wizard, has enchanted the princess and her maidens, but, with the aid of the Firebird's feather, Prince Ivan rescues the maidens and marries the Princess.” This Russian fairytale is a story line of the one-act ballet “Firebird” presented yesterday by the New York City Ballet at the end of the All-Russian program.

The audience was mesmerized by the beauty of stage decorations and costumes originally created by the Russian (Belorussian to be exact) painter Mark Chagall in 1945.(Chagall is considered a forerunner of surrealism. After some years in Russia, he moved to France in 1922, where he spent most of his life. His frequently repeated subject matter was drawn from Jewish life and folklore. Much of Chagall's work is rendered with an extraordinary formal inventiveness and a deceptive fairy-tale naïveté. Chagall illustrated numerous books, including Gogol's Dead Souls, La Fontaine's Fables, and Illustrations for the Bible (1956).)

Balanchine's Firebird was one of his earliest creations for NYC Ballet that used such elaborate costumes and sets. Russian folklore is integrated in this ballet. Balanchine used Igor Stravinsky's orchestral suite instead of the three-act score. This new production was staged in 1985. Sofiane Sylve as Firebird, Jonathan Stafford as Prince Ivan and Rachel Rutherford as Prince’s Bride gave an inspiring performance. Their interpretive dancing was powerful and yet graceful, romantic and elegant. The audience was treated for a true Russian ballet!

The Art of Dance

"We must first realize that dancing is an absolutely independent art, not merely a secondary accompanying one. I believe that it is one of the great arts. Like the music of great musicians, it can be enjoyed and understood without any verbal introduction or explanation.... The important thing in ballet is that movement itself, as it is sound which is important in a symphony. A ballet may contain a story, but the visual spectacle, not the story is the essential element. The choreographer and the dancer must remember that they reach the audience through the eye -- and the audience, in its turn, must train itself to see what is performed upon the stage. It is the illusion created which convinces the audience, much as it is with the work of a magician. If the illusion fails, the ballet fails, no matter how well a program note tells the audience that it has succeeded."
George Balanchine

From the History of Ballet: The Right of Spring

"Almost no musical work has had such a powerful influence or evoked as much controversy as Igor Stravinsky's ballet score “The Rite of Spring”. The work's premiere on May 29, 1913, at the Théatre des Champs-Elysées in Paris, was scandalous. In addition to the outrageous costumes, unusual choreography by Vaslav Nijinsky and bizarre story of pagan sacrifice, Stravinsky's musical innovations tested the patience of the audience to the fullest.

The complex music and violent dance steps depicting fertility rites first drew catcalls and whistles from the crowd, and there were loud arguments in the audience between supporters and opponents of the work, and were soon followed by shouts and fistfights in the aisles. The unrest in the audience eventually degenerated into a riot. The Paris police arrived by intermission, but they restored only limited order. Chaos reigned for the remainder of the performance, and Stravinsky himself was so upset due to its reception that he fled the theater in mid-scene.
The ballet completed its run of six performances amid controversy, but without further disruptions. Both Stravinsky and Nijinsky continued to work, but neither created pieces in this percussive and intense style again."

Today The Rite of Spring is regarded as a path-breaking 20th century masterpiece. The work is often heard in concert and the ballet is set by many prominent choreographers.

No Love on The Lake... At Least Not Tonight

Tonight was the opening performance of "Swan Lake" by the National Ballet of Canada at the Kennedy Center Opera House. I expected to see a familiar story in a different light with passionate performances by principal dancers, provocative choreography, and amazing costumes. Even the program notes promised "extraordinary range of emotional and psychological possibilities".


The beginning of this well-known fairytale of love and betrayal was quite unusual and very slow. For the first 40 minutes I thought I was watching "Robin Hood: Men in Tights" with Tchaikovsky's soundtrack. The prince Siegfried (danced by Aleksandar Antonijevic) was so indifferent to his surroundings that it was almost painful to watch. He did have a "trademark" smile on his face. He even kept it during the scene of the rape of poor Wench by his buddies and seemed rather unmoved by this whole incident. The only time he expressed emotions and passion was during the dance with his beloved friend Benno. The choreography of the Act 1 was dull and uninteresting, so were the costumes. The orchestra wasn't in its best form which added to my disappointment. When finally the beautiful Odette (played by Greta Hodgkinson) appeared in Act 2, I thought things would start getting better. I was wrong. With expression of pain, fear and maybe hunger on her skinny face, Odette made a few jerky movements of her head and approached the Prince. The White Swan looked undernourished and unhappy. The way she moved her entire body was unusually rigid and sharp-edged. There was no love in the air, not even chemistry. The Prince and Odette were both indifferent towards each other. (Probably he was thinking about Benno and more than likely she knew it.) She didn't even try to win his heart. The performance of the corps de ballet at times resembled the flock of Canadian geese rather then graceful swans.

The highlight of the first part was the "Dance of Little Swans" performed by four female dancers. It was a pleasure to watch. This dance received the warmest response from the audience.

I didn't anticipate a miracle after the intermission. I was wrong again. It was a completely different story. It looked like the dancers warmed up, so did the orchestra. The decorations and costumes of Act 3 and 4 were spectacular. Odile (Black Swan) was simply irresistible. She was seductive and sexy. Her movements were gracious and soft. No wonder the Prince showed not only his interest but also expressed a desire to marry the evil imposter of Odette. The dances of four "mail order brides" from Hungary, Russia, Spain, and Italy were beautifully performed by Rebekah Rimsay, Stacey Minagawa, Tanya Howard and Jilian Vanstone. The corps de ballet danced significantly better.

The well-choreographed dances and impeccable performances by the artists brought a nice contrast with the first part of the tonight's performance. The difference between the first and the second part was like day and night (or should I say white and black?) The audience was quite moved by the end of the performance and rewarded artists with a generous ovation.

The National Ballet of Canada - Swan Lake

After more than a 13-year absence, the National Ballet of Canada came back to the Kennedy Center with one of the most controversial productions of one of the most famous and best loved classical ballets of all time - "Swan Lake". The much talked-about premiere of this choreograhpy of Tchaikovsky's ballet took place on May 5, 1999, at Toronto's Hummingbird Center. The creator, then-artistic-director of the company and currently its resident choreographer, James Kudelka, is a well-respected and widely-recognized artist, who created and staged more than 70 ballets.

Growing up in Russia, I was fortunate to see the most lavish performances of "Swan Lake" (Lebedinoe Ozero) on the Bolshoi and Mariinsky Theaters' stages. The 'traditional' or 'standard' production of this ballet (choreographed by Marius Petipa and Lev Ivanov in 1895) was widely adopted in Soviet Russia. The happy end, where good forces raise above the evil, true love prevails, and the prince unites with his bride only to live happily ever thereafter, was meant to proclaim "a bright [Soviet] future ahead".

'Traditional' was not what Kudelka had in mind when he staged his version of this classic fairytale. His new production is adapted to modern society. A darker and gloomier version filled with symbols and metaphors, it now features non-traditional costumes and contemporary choreography. Ballets, unlike plays or movies, rarely stir controversy unless they feature rape, homosexuality, nudity, or raise environmental issues or comment on slavery. Kudelka's production, which does all of these things, is different, that's why it's controversial. And why it shouldn't be? We live in a different and controversial society after all.

The first performance of "Swan Lake" by The National Ballet of Canada is tonight at the Kennedy Center Opera House at 7:30 p.m. The following performances are Wednesday through Friday at 7:30 p.m.; Saturday at 1:30 p.m. and 7:30 p.m. and next Sunday at 1:30 p.m.