Tag Archives: Davit Karapetyan

San Francisco Ballet’s Swan Lake, February 19 and 23

12 Mar

Swan Lake’s opening lost to Jacques d’Amboise appearance at Nourse
Auditorium so I saw Davit Karapetyan and Maria Kochetkova in the principal roles February 20. On February 23 I paid for a ticket to see Carlo de Lanno and Sofiane Sylve in their second essay as Siegfried and Odette/Odile. I am here to tell you I was glad for each dollar spent on a credit card.

Rita Felciano has written a brilliant commentary for Danceviewtimes on the rationale of the Swan Lake setting, much of which is supported in the programnotes. The physical setting is handsome and, architecturally, more than a little overbearing, clearly the intention. Siegfried isn’t supposed to have many options, and in Act III, the staircase is overpowering and intrusive, diminishing the depth of dancing space.

Inspired by Rita’s observations I went back to Wikipedia’s time line for Russian history and, in particular, Nicholas II, Imperial Russia’s last czar. His marriage as well as the death of his father occurred in 1894. Swan Lake got its Petipa-Ivanov premiere in St. Petersburg in 1895, and the time lines suggest unrest, acknowledged or not in the program. Serfdom had been abolished by Nicholas II’s ancestor, Alexander I, in the 1860’s with not much thought to the ramifications.

In Mongolia or the northern reaches of Imperial Russia there was a tradition of imitating swans. At the 1979 International Ballet Competition in Jackson, Alexandra Danilova urged me to see the second performance of some Chinese guests where the man did a swan dance to boggle the mind at the similarity with Odette’s movements in Act II. Though there is no written verification of Siberian travels, Lev Ivanov may well have seen traveling performers in St Petersburg in this evocative solo and incorporated elements of it into Act II’s haunting Odette solo.

The story is much more medieval and Eastern European than the current production would have you believe visually. With the Queen Mother’s silvery white wig out of Gainsborough and the elegant tones of deep greens and rusty scarlets, as well as the graceful swirl of skirts below Empire bodices, it is definitely early 19th century, quite at cross purposes with the bow bestowed upon Siegfried by his mother. Anita Paciotti gave us an imperious, well-meaning mother, well-meaning in the sense that dynasty must go on.

Paired with Davit Karapetyan and Maria Kochetkova were Daniel Dievison-Oliviera with predartory glances and smouldering postures as Von Rothbart with Gennadi Nedvigin in the pas de trois with Koto Ishihara and Lauren Strongin. For Sylve and de Lanno, their Von Rothbart was an icy, remote Tiit Helimets. the Act I trio included Taras Domitro, Doris Andre and Sasha de Sola.

While dancers are all different, Karapetyan and Kochetkova share the Russian tradition in training, while the Sylve-de Lanno schooling seems more firmly based in Western European lineage with a certain understated directness that nonetheless manages nuance and musicality where the two K’s possess a grander attack. Karapetyan is more clearly the prince receiving homage, de Lanno deferential and vulnerable, both clearly alone facing the maternal demand. Kochetkova dances Odette as a young girl, her Odile a sly vamp, while Sylve’s Odette is youthful if mature, though still trapped, and her Odile focused and calculated.

While I was somewhat relieved not to see six identically dressed princesses dancing the same waltz at the same time, which would beleaguer any young man’s judgment, the choice of transforming four national dancers, with two Russians to make up the roster, struck me as odd. The setting and story implies purity of the prospective brides, but they are partnered and frequently hoisted by their countrymen, scarcely a virginal display in any one of the four styles.

The swan corps, the cygnets and the lead swans were all admirable as was the
level of the production. Swan Lake is clearly a classic; one likes to see what the principals will make of their assignments, but I now find other full length works more absorbing.

The 2016 San Francisco Ballet Gala

24 Jan

 

January 21 provided the usual well-dressed mayhem in the Opera House Lobby for San Francisco Ballet’s Gala opening.  After the national anthem and Chairman John S. Osterweis delivered verbal thanks to the occasion’s organizers and sponsors,a lengthy roster; he also thanked the Ballet’s Board for its support of a dance institution which has survived its various manifestations and flourished to see its 84 years of performing with its national and international roster of remarkable dancers.  It also goes without saying that Helgi Tomasson is a master in staging a gala, not only for its variety but for using dancers to keep interest high, quite a feat in the stylish, quite self-involved patrons..

The audience enjoyed the choreographic gifts of three Russians: Marius Petipa (2); George Balanchine (4); Yuri Possokov, celebrating a decade as choreographer in residence (1).  The remaining five included Christopher Wheeldon, Hans Von Manen, William Forsythe, Helgi Tomasson and Jiri Bubenchcek.

In collaboration with Pacific Northwest Ballet, San Francisco Ballet will be presenting Coppelia in program four, staged by Alexandra Danilova nad George Balanchine after the original Paris Opera production of 1870 to that delicious music by Leo Delibes.  In pastel pink and following a time-honored practice of providing performance opportunities to students [in Paris it would have been les petite rats], a bevy of San Francisco Ballet students danced the Waltz of the Hours with Jennifer Stahl as the focal point with her high and handsome extensions.  Let it be said that the formations Balanchine devised, staged by Judith Fugate, were as impressive as the students’ execution and doubtless equally stimulating to the performers.

Maya Plisetskaya’s husband Rodin Shchedrin created several musical settings for his late wife, One, based on the story of Carmen, Yuri Possokhov used for his sultry pas de deux for Lorena Feijoo and Victor Luiz, a couple who told the tale of initial attraction between the gypsy and Don Jose with appropriate passion, strains of Bizet reminding the viewer of the seche fleur Jose had possessed in jail.  Possokhov’s understanding of a pas de deux can be picture perfect, and in this instant he was true to his reputation.

From the sultry to the complex music of Bela Bartok’s Divertimento, Helgi Tomasson entrusted his dancing quartet to three members of the corps de ballet, Max Cauthorn,Esteban Hernandez,  and and Wei Wang plus an advanced student of the school, Natasha Sheehan, skillfully staged by Tina Le Blanc.

Number four on the program was clearly a high point, Balanchine’s Tchaikovsky Pas de Deux, premiered in 1960 at New York’s City Center with Violette Verdy and one time San Francisco Ballet principal dancer Conrad Ludlow.  Here danced by Frances Chung and Gennadi Nedvigin, it was a delight from start to finish, Chung crisp and Nedvigin crystallizing his ascent in jumps
with a moment of distinct clarity.  Her turns were bursts of joy and Nedvigin gave us a mellow classicism that made one wanting to melt.

Christopher Wheeldon’s take on the romance in Carousel was given a dramatic sharpness by Doris Andre and steady persuasion by Joan Boarda.

The final pas de deux before intermission featured the Marius Petipa 1869 war horse Don Quixote Pas de Deux, with Vanessa Zahorian and Taras Domitro dancing to the Ludwig Mnkus music as set by Helgi Tomasson and Yuri Possokhov, virtually unmodified.  The balances required of Zahorian were noticeable, her fouettes in the coda frequently double.  Taras Domitro gave us some alarmingly good grand jetes, eliciting gasps from the audience.  Both were smooth and elegant.  After all,  having outwitted Kitri’s father, the couple are dancing at their wedding, and the ought to be celebrating.

Following intermission, there was a local premiere of Gentle Memories choreographed by the Czech born dancer-choreographer Jiri Bubenicek, created for the Youth America Grand Prix in 2012 and staged that September at the Maryinsky Theatre in St. Petersburg. With Ming Luke at the piano, the music by Karen LeFrak was filled with musical phrases clearly linked to Scottish folk songs, appropriately enough for Yuan Yuan Tan with four swains, Tiit Helimets, Victor Luiz and Carlos Quenedit.

The temperature raised quite a bit for the next two numbers with Balanchine’s Rubies danced by Maria Kochetkova and Pascal Molat.  It was interesting to remember who else danced the number for Kotchetkova and Molat gave it a polished air beyond the sheer energy it has been danced by American born dancers.

Hans Van Manen created Solo to Johann Sebastian Bach’s violin solo which grows with increasing intensity.  It has been a frequent ballet on the company’s roster, here danced by Joseph Walsh, Gennadi Nedvigin and Hansuke Yamamoto with customary skill and relish.

Mathilde Froustey and Davit Karapetyan matched skill in the Act III pas de deux of Swan Lake, where Petipa created 32 fouettes en tournant for Pierina Legnani in the role of Odile.  It looked like this was Froustey’s maiden attempt in the role/ A charming dancer with beautiful proportions and exceptional port de bras, she did not complete the requisite fouettes or sur la place.  Karapetyan partnered attentively and conveyed his progressive attraction with conviction.

Sofiane Sylve and Carlos Di Lanno provided four minutes from the William Forsythe Pas/Porte to be featured fully in Program I, an angular choreography costumed by Stephen Galloway in practice costumes rendered with large pathches of color – I remember a lime green in particular. The dancers, of course, were spot on.

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Sofiane Sylve and Carlo Di Lanno in Forsythe’s Pas/Parts. (© Erik Tomasson)

The finale saw Luke Ingham in the role Igor Youskevitch created in Balanchine’s Theme and Variations, while Vanessa Zahorian danced Alicia Alonso’s part, created for Ballet Theatre in 1947.  To Tchaikovsky’s radiant music, corps de ballet and demi-soloists  rush on and off in waves, create diagonals, cross lines with jete arabesques, and turn energetically.  Easily, it was a triumphant finale for a grand exhibit of San Francisco Ballet’s continuing strength and excitement.

Sad to say, it also marks the beginning of Joan Boada and Pascal Molat’s final season with the company.

San Francisco Ballet’s 71st Nutcracker Season

3 Jan

In this third San Francisco production of Petyr Ilyich Tchaikovsky’s commission for Marius Petipa and Lev Ivanov (Willam Christensen’s ground–breaking undertaking and brother Lew’s the second with at least two different productions), Helgi Tomasson celebrated the city’s emergence from the 1906 earthquake and fire by aligning it to the 1915 Panama-Pacific Exposition; Michael Yeargen took his clue from images of the 100th year before in slides, Act I’s setting and hints of the Conservatory of Flowers, supported by James F. Ingalls’ lighting. Martin Pakledinaz designed the fetching gowns of the period as well as the traditional and pastiche costumes for Act II. The results congratulate San Franciscans. From the cheerful opening pandemonium sounds December 16 and the December 18 matinee, the seasonal tradition is a winner all the way. The sound pitch opening night was up there with the screams of a basketball game, while volunteers carefully herded toddlers and grammar school attendees for their pictures with a French soloist (the flute soloist for more traditional viewers) and the Mouse King, and off the other side of one of the crimson-carpeted entrances to orchestra seating. Most girls wore aspirational net tutus with frequent rhinestone tiaras. The mother of one girl near me said her chestnut-haired daughter was studying karate and acrobats.

Opening night Val Caniparoli was his genial self, if somewhat perfunctory. Katita Waldo gave us a welcoming Mme Stahlbaum while Ruben Martin Cintus exuded the pleasant organizing half.. Two youngsters, Alexander Renoff-Olson and Kristi DeCaminada made a convincing go as the grandparents. Francisco Mungamba’s displayed flexibility in yellow tights and bobbing trim; Lauren Parrott was mercifully brunette after the memorable tawny blonde of Clara Blanco; Wei Wang jumped energetically as the toy Nutcracker.

One of the production’s charms is the transformation scene, and although the sleepy gestures of Clara’s (Sienna Clark) seemed perfunctory if on time to the music, the enlarging furnishing along with the tree are just right as is the appearance of the Nutcracker Prince in the handsome personage of Davit Kerapetyan. Gaetano Amico was the nasty Mouse King, a role everyone loves to hate and the interpreter tries to make the most of in his brief allotted phrases.

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San Francisco Ballet in Tomasson’s Nutcracker. (© Erik Tomasson)

Vanessa Zahorian served as a gracious Sugar Plum Fairy with Frances Chung as the grownup Clara, following the Snow Scene with Jennifer Stahl and Luke Ingham as the reigning monarchs of a blizzard almost obscuring the figures midway and towards the end. Why they dancers have to navigate a storm is beyond me. Flurries should be sufficient.  The same threatened obliteration was accorded Koto Ishihara and Joseph Walsh December 18.

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Frances Chung and Davit Karapetyan in Tomasson’s Nutcracker. (© Erik Tomasson)

Distinguishing themselves in the Chinese and Russian were Lonnie Weeks and Esteban Hernandez. The trio bursting from the Faberge-inspired eggs is invariably a treat to be followed by Anatole Vilzak’s variation for the three dancers. It’s one of the supreme relics of the earlier production.

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Lonnie Weeks in Tomasson’s Nutcracker. (© Erik Tomasson)

I saw a second performance, the December 18 matinee to see what Pascal Molat did with Drosselmeyer. I didn’t expect Sancho Panza, of course, but he is just such a wizard with character parts. Of course he was wonderful. His hands were invariably seeking the edges and the corners of what he was assigned, finishing his work before donning his coat, the manner in which he tied the pouch for the clock, his gallantry with the flower seller on the street. His semi-crouching position when levitating the cane was like someone in a contest; I felt an unusual touch in his consoling Fritz at not getting the nutcracker, topped only by the bow with which he tied his handkerchief on the wounded wooden doll. Throughout the scene this Drosselmeyer was intimately attuned to youngsters, at one with them as well as a distinguished, eccentric clock maker. His wizardry with the transformation scene, reassurance to Clara and continued guidance through Act II was simply de rigeur. One can relax with an “ah” watching him, a total treat.

Jeffrey Lyons and Amy Yuki made a jovial and gracious set of Stahlbaums while Val Caniparoli joined Anita Paciotti in the grandparental roles.

Here Esteban Hernandez as the toy Nutcracker bounded electrically from the box. Blake Kessler was the yellow Harlequin and Jahna Frantziskonis, coming to the company from Pacific Northwest Ballet, was the porcelain pink doll.

I noticed in some principals’ tutus a broad, slightly floppy over skirt, like an expansive flower; instead of gradated layers of ruffles,the tutu cuts to the underpinning exposing upper tights and pants when lifted by a partner. What seemed to be a charming floral bouquet, suddenly your eyes were directed, minus smaller petals, to stamens and pistils.

Doris Andre served as The Sugar Plum Fairy regally. I did not notice it much before this season and it may reflect some tweaking, but the Sugar Plum Fairy summoned her waltzing flowers as well as the busy little lady bug, moths and butterflies to hear the tale of the Nutcracker Prince’s battle with the Mouse King. It brought a warmth to the undertaking, a winning witnessing to the otherwise austere evocation of the Conservatory of Flowers.

Normally the French variation, usually belonging to a trio of Dresden Shepherdess but here candy-caned striped can can dancers, appeals to me not at all. In the December 18 matinee, however, I noticed some nice phrasing with adroit finishing emphasis by Miranda Silveira.

Carlo di Lano made his debut in this production of the holiday staple with Matilde Froustey as his adult Clara. What a marvelous pair they were, both in looks and European ambiance. When the Nutcracker’s mask was lifted, di Lano’s breath animated his port de bras: liberation! This sensibility pervaded every motion, making the most logical, the most spectacular special.

San Francisco Ballet’s Romeo and Juliet on Film

24 Sep

At a September 21 preview in San Francisco’s Century Theatre, housed in the old Emporium building, a selected audience saw San Francisco’s current Romeo and Juliet production which starts the Lincoln Center at the Movies series October 1. While it is not PBS’ Great Performances series in which Michael Smuin’s version opened the dance series to full-length ballets, the Helgi Tomasson version enjoyed a remarkable production thanks to Thomas Grimm, and the various fiscal sponsors acknowledged by Tomasson and on the screen.

What made a notable difference from the early PBS series, created by the memorable trio of Merrill Brockway, Jak Venza and Judy Kinberg, were the use of closeups and deliberate cutting of movement, filmed May 7 at San Francisco’s Opera House. Cuts to an individual face or chest shots infused more drama than long shots with feet and body moving to the Prokofiev score. In addition, shots of the towns people and the harlots during the action added to the overall ambiance, the sense of a small interactive community.

Maria Kochekova and Davit Karapetyan were the fated lovers, supported by Pascal Molat as Mercutio and Luke Ingham as Tybalt with Joseph Walsh as Benvolio. Anita Paciotti reprised her role as the Nurse; Jim Sohm stepped eloquently in as Friar Lawrence while Ricardo Bustamonte and Sophiane Sylve were the steely Capulets, Ruben Martin and Leslie Escobar the Montagues. Myles Thatcher, the choreographic wunderkind of the corps, was a blond Paris. [Readers of my earlier SFB R&J review know my feelings about a too-early age of County Paris.]

There were at least three interviews between the acts, which were identified on the upper left, along with quotations from Will’s play; Helgi Tomasson; Warren Pistone who doubles as sword master and the Prince of Verona; Anita Paciotti
who speaks of the use of children in the production. Additional comments included Davit Karapetyan, Maria Kochetkova and Pascal Molat regarding the roles and the challenges of the fight scenes. Kochetkova was quite coy.

The handsome production additionally featured Martin West commenting on the score, the costume and makeup departments received their share of footage along with a small group of children making their contribution. I would pay to see the movie again.

The following evening, at a gathering to celebrate the 41st wedding anniversary of Carlos and Carolyn Carvajal Tony Ness, former San Francisco Ballet dancer who belonged to the Smuin era of the PBS filming of Smuin’s reading of Shakespeare’s tragedy to Prokofiev’s music, was present. He refreshed my memories of the Smuin production, both for the premiere and the PBS production when Diana Weber and Jim Sohm were the ill-fated teens with Anita Paciotti as Lady Capulet, Attila Ficzere as Mercutio, Gary Wahl as Tybalt, and Tina Santos the nurse.

At Smuin’s premiere, Vane Vest and Lynda Meyer were Romeo and Juliet and Anita Paciotti was the nurse. The balcony was upstage right and the entire set designed so that it could travel, a fact heading the review for The Christian Science Monitor. Tony was the Duke of Verona, but the PBS version placed Vest in the role. Paula Tracy appeared as Lady Capulet with Keith Martin and Susan Magno as the street dancers in the original production. Magno later danced Juliet with Tom Ruud and Jim Sohm. There were a succession of dancers in the roles – David McNaughton with Linda Montaner and later Alexander Topciy with Evelyn Cisneros. I believe Smuin’s production was later mounted by Ballet West, a natural connection for Smuin’s dance career started under Willam Christensen.

Most touching, however, in the PBS version Lew Christensen was Friar Lawrence. I also couldn’t help thinking of the succession of roles Sohm has assumed with such finesse following his active dance career; Grandfather in Nutcracker; Don Quixote in that ballet and now Friar Lawrence.

Earlier Tomasson Romeos, Anthony Randazzo, Yuri Possokhov, Pierre Francois Villanoba, and Joanna Berman’s Juliet, also floated to the surface. Clearly, the Tomasson production, elegant as it is, beautifully realized by the dancers, prompted memory lane meanderings.

That Time of Year: S.F. Ballet’s Gala Celebrating Thirty Years of Tomasson Guidance

26 Jan

The melange of celebration, virtuosity, fund-raising goals and lavish display of gowns and egos marked San Francisco Ballet’s Gala January 22 with the press placed where tickets had not been sold; i.e. two seats in and in the Grand Tier where I sat with Craig Ashton and Emma, writing for a local Russian weekly. We were treated with the Calla Lily Lady, wearing a dress of white jersey, the shoulders guarded by said floral shape, adorned with green images; it required her to book the couple’s seats on the aisle, final row in the middle of the Grand Tier; sight lines were preserved. Go to S.F. Gate’s website, to see good glimpses of a design fit for Swan Lake or Raymonda at the Bolshoi.

Seen were tops with bra-like backs and a legion of strapless gowns well-stiffened set off by pairs of arms lacking muscular definition. Dressing up is fun, but what of the body it inhabits?

In front of us a young couple exchanged kisses while the rest of us stood, hand over heart, singing The Star Spangled Banner;seats empty following intermission.

The Gala commenced with a local version of the Paris Opera’s defile where the school, the trainees and budding professionals come forward, men with black tights and romantic shirts, girls in white tunics, older ones in white tutus a few in black, and, naturally, tiaras. I couldn’t help thinking what a fiscal outlay the tutus represented, and the hours spent in creating them. The audience cheered.

Following the defile, John S. Osterweis was tasked with acknowledging the sponsors of everything from the cocktail hour to the post-Gala Party, the organizers, and announcing a major capital campaign for $65 millions, of which $43 millions have been raised. Fund campaigns are typically private until at least half the goal has been reached. Exceptional was the information that five endowments have been made for five principal dancers, presumably extending beyond the current occupants’ active dancing careers. Diane B. Wilsey was announced as the chair for the Capital Campaign. (She has just completed a similar task for the UCSF Hospital at Mission Bay.) That declared, the Infinite Romance Gala commenced.

Some five years ago Renato Zanella’s Alles Walzer was performed at a Gala. This time it featured Pascal Molat flexing his biceps, back to the audience, head in profile making certain the audience registered the contours. Besides multiple pirouettes and tours around the stage, Zanella managed to mesh goofy touches with appropriate phrases to Johann Strauss II. Molat gave way to Joan Boada, echoing the movements; the pair wound up dancing identical movements, Molat dancing the most comment, Boada leaning on the bravura.

Val Caniparoli’s pas de deux from A Cinderella Story featured Lorena Feijoo and Vitor Luiz, Feijoo in a frothy white skirt with red accents. They swirled together, beautifully synchronized, to Ming Luke’s piano renditions of Richard Rodgers’ themes.

Helgi Tomasson’s take on the most rapturous variation of Rachmaninov’s Variations on A Theme of Paganini, saw Yuan Yuan Tan leaping and leaning on the arms of Tiit Helimets, with an ultimate lift into Helimets’ embrace.

Kurt Weill’s music was Christopher Wheeldon’s source for the pas de deux between Sofiane Sylve and Luke Ingham, titled There Where She Loved. Sylve danced a reluctant, passionate, partially convinced role while Ingham supported, pursued and persuaded. Finally, Sylve walked away; one could imagine hot and cold continuing.

In a unannounced switch, Francesco Geminiani’s adaptation of Corelli, Concerto Grosso, premiered at another Gala in 2003 featured three young men of the company’s corps de ballet: Esteban Hernandez, Diego Cruz, Max Cauthorn, Francesco Mungamba and Wei Wang. Dancing to two violins, a viola and cello, they commence with outward sweeping arm movements as they turn several times before forming a circle of grand jetes to the persistent, forward sound of the strings, ably played by Matthieu Arama, Marianne Wagner, Anna Kruger and Eric Sung. A series of solo variations follow with a pas de trois insert. Dressed in Milliskin unitards, Mungamba distinguished himself with the liquid quality of his line, Hernandez in red with bursts of virtuosity, Wei Wang for unaffected classic style. Cruz and Cauthorn, who danced the Harlequin in December’s Nutcracker, were hard to identify from the Grand Tier. The five danced as a unit. Tomasson is adept in fashioning classical male bravura.

Post intermission the offering sequence was changed, perhaps because Francisco Mungamba was scheduled for another series of killer variations. Instead Tchaikovsky’s tenuously melodic music sourced Alexei Ratmansky’s choreography, originally for the Het National under the title Souvenir D’un Lieu Cher, with Mathilde Froustey, Sarah Van Patten, Carlo di Lanno and Luke Ingham. Frankly it wasn’t clear whether the former dear was all that “former”, if the connection between the women made clear they were okay with the arrangement. Van Patten seemed to have the worst of it, with soloist Di Lanno, I think making his San Francisco Opera House debut, being very courteous about his position, while Ingham was stalwart about Van Patten’s uncertainty. I hope Ingham isn’t type-cast too much in having to be manly about feminine indecision. Froustey’s impulse contrasted muscularly with Van Patton’s hesitations, and in equal measure Ingham’s body movements with Di Lanno’s. I found the quartet compelling more about the body movements and attack than the content.

Sergei Rachmaninov’s music was Yuri Possokhov’s source for the pas de deux from Bells, apparently a longer work created for the Joffrey Ballet in 2011. Here Maria Kochetkova and David Karapetyan in flaming orange Milliskin, he stripped to the waist, she in bathing suit style by Sandra Woodall, maneuvered in contemporary style out of their mutual Russian training, their comparative height adding to the mix.

Finally, The Vertiginous Thrill of Exactitude returned the program sequence, choreographer William Forsythe’s familiar acid green pancake tutus inhabited by Dores Andre, Sasha de Sola and Jennifer Stahl, and Francisco Mungamba and Gennadi Nedvigin contrasting in attack and line, both wonderfully correct, and Andre particularly intense in her variation.

Frances Chung and Joseph Walsh premiered Christopher Wheeldon’s present for Helgi Tomasson’s 30th anniversary as artistic director with Borealis, music by Gavin Byrars. In silver tops and blue tights the imagery seemed designed to evoke lights glittering in northern winters.

Just before the finale pas de deux, the Tatiana-Onegin pas de deux was danced by Yuan Yuan Tan and Vitor Luiz. He danced masterfully, she emoted extravagently. Like Francisco Mungamba, Luiz as did Luke Ingham danced twice as did Tan – a double duty series which seemed unusual. That may be why the San Francisco Ballet Website lists an opening for a principal male dancer.

To complete the program Taras Domitro and Vanessa Zahorian winged their way through Le Corsaire pas de deux with clarity and great elan, Domitro’s exciting grand jetes and Zahorian finishing off her assignment with a series of single and double traveling fouettes.

After the curtain applause, the usual basket of flowers and individual nosegays for the cast of women dancing, several men in black emerged with trays of glasses, followed by John Osterweiss offering a toast honoring Helgi’s Thirtieth season. The gold curtain then descended.

Afterthought: the Gala listed three pianists in addition to Roy Bogas for the Paganini: Natal’ya Feygina, Mungunchimeg Buriad, and Ming Luke.

Alexei Ratmansky’s Shostakovitch Trilogy, April 2,11

16 Apr

Some ballets impact me strongly; when they do, it’s necessary to see the work at least a second time to make sure what I saw was what I felt, and why. I’ve not heard much Shostakovitch; one of his was a college favorite, arrogant finale et al. It wasn’t included in Ratmansky’s choices: Symphony #9, Chamber Symphony, Piano Concerto # 1. The San Francisco Ballet premiere of the trilogy follows the two-part premiere of Alexei Ratmansky’s essays by American Ballet Theatre.

My initial impression was movement and music were absolutely one and how could this be? Visually, the dancers rose, turned, jumped, pirouetted, were held or fell to the floor just like the notes I was hearing. Opening night audience thought so too – a standing ovation plus enthusiastic written and verbal excitement expressed by critics. What love and admiration can accomplish in the mind and vision of a gifted artist ! There is no questioning Ratmansky’s work qualifies; The MacArthur Foundation also agreed this past September.

Part I, Symphony #9, featured Sarah Van Patten, Carlos Quenedit, Simone Messmer, James Sofranko and Taras Domitro April 2; the April 11 casting; Simone Messmer, Mathilde Froustey, Pascal Molat, Luke Ingham and Hansuke Yamamoto.

Part II, The Chamber Symphony provided Davit Karapetyan with Sasha de Sola, Lorena Feijoo, Mathilde Froustey April 2, Jaime Garcia Castilla, Dores Andre, Simone Messmer and Sarah Van Patten April 11.

Part III, Piano Concerto #1, featured Yuan Yuan Tan and Damian Smith, Maria Kochetkova, Vitor Luiz, on April 2; April 11 Sofiane Sylve and Tiit Helimets, Doris Chung,Joan Boada.

Between the premiere and the dancing of a second cast, seen a week following the premiere, rawness has dissipated, the phrases, the steps, the interplay of bodies, lines all have begun to organize themselves in the dancers’ muscle memory, the hesitations and maneuverings of rehearsal behind. Still, I felt the second cast had meshed uniquely; how likely is it they will get reviewed, particularly a week later.

At the premiere Symphony 9 reflected the musical structure: Domitro jumping, spinning; Messmer and Sofranko flirtatious, Van Patten and Quenedit reflecting the highs and lows in the musical line. April 11, Froustey and Ingham gave me a sense of fear, illusory moments of tenderness, a pervading quality of hopelessness. Messmer with Molat, she replacing the scheduled Lorena Feijoo, provided immediacy, “get it, enjoy it while you can.” Hansuke Yamamoto, whatever he felt, was dancing full out, one of the best I remember, driving forward, upward; what else could one do?

The Chamber Symphony was graced with David Karapetyan, his sculpted body, a controlled stoic aura, even as he reached out for the feminine, Sasha de Sola, the flirt; Mathilde Fourstey the fated one, Lorena Feijoo, required to comfort the forlorn. I read somewhere the quartet of dancers reflected a failed Apollo with unreliable Muses. The quartet sequences seemed particularly reflective of the music. April 11 emotion rippled through Jaime Garcia Castilla, aided by his exceptionally supple physique. Dores Andre invited, then flitted away. Castilla and Simone Messmer seemed keenly aware of their frailty; especially when she is first hidden, held aloft by the group of men before her final disappearance, leaving a wise attending woman, Sarah Van Patten, to touch him compassionately.

For the Piano Concerto, the usual close partnering between Tan and Smith was a given; he slightly somber, solicitous, Tan clearly articulate but remote. Kochetkova and Luiz were livelier, to be expected, both expressive individually. Did I subjectively feel that Sofiane Sylve and Tiit Helimets as Europeans understood the irony better? Perhaps. Frances Chung and Joan Boada melded skillfully, blending in an immediacy underplaying the flash.

Regardless, I only wish the trilogy was to be part of San Francisco Ballet’s 2015 Spring season instead of the Piano Concerto alone. I still have lots to absorb.

Cinderella: Her Second Season with SFB, March 13

17 Mar

For foodies who also like ballet, the buffet in San Francisco’s Opera House is recommended once you pick up your tickets if not mailed to you. The hot dishes can be impressive, if simple, the roast beef succulent. It is the array of salads and vegetables where the buffet seems to excel; celery root julienned; farro with raisins and carrots; asparagus spears, spinach with citrus fruit. The prospect of second helpings and a complimentary glass of champagne is further inducement.

This year I elected the Thursday night program partly because Norman Hersch could only go that night and I wanted to see Frances Chung switch roles from an ugly sibling to the chosen one, Cinderella herself. She is such an admirable dancer; correct, musical, willing, and also reticent though gracious, altogether a formidable combination. Truly a company dancer, her attitude reminds me a bit of Margot Fonteyn, minus any brouhaha. What’s not to admire?

Davit Karapetyan was Chung’s Prince Charming with Diego Cruz making his debut as Benjamin, the Prince’s friend. Shannon Rugani rendered a powerful portrait of Stepmother Hortensia, understated but definite. Elizabeth Powell and Ellen Rose Hummel horsed it up as the two step sisters, Hummel’s Clementine winning Cruz’ Benjamin. Reuben Martin Cintas created a believable father, bereft, then remarried, pecked and coat holder, but ultimately defender of his blood child. In the royal household, Ricardo Bustamonte and Anita Paciotti were suitably anxious about princely behavior and marital choices, while Val Caniparoli’s Alfred worried a tad about Benjamin’s mischief and as Madame Mansard, Katita Waldo was completely flumoxed by her two young charges. Interesting note: Pascale Le Roy created the Mansard role last May, shortly before she was dismissed from San Francisco Ballet School’s staff, a post filled easily a decade or more.

Missing is the fairy god-mother. At the fireplace she is replaced by the Prince in disguise who is given food by Cinderella, a neat insert for cause and effect. Quickly the four Fates- Gaetano Amico, Daniel Deivison-Oliveira, Luke Willis and Shane Wuerthner intervene; providing wheels for Cinderella’s carriage to the ball, following the seasons’ coaching session in personal qualities. The seasons and their entourages didn’t seem to convey qualities to me, though the dancing was excellent. Jaime Garcia Castilla’s fluid a la seconde developpes were breathtaking as Summer while the Autumnal carrot wig [Halloween?]on Hansuke Yamamoto’s warred visually with his usual allegro fleetness.

One can scarcely fault Julian Crouch’s scenery and costumes except for the questionable taste in costuming the princesses from Spain, Russia and Bali; Goya doublet and hose, Orthodox robes and heavily veiled saris make me cringe over the mental processes which decided the selection and its visualization. His visual reference to the tree emerging from the mother’s tombstone with its weighted reference to the earth and regeneration is apt and touching, regardless of the more traditional story. As a beginning and finale it serves its purpose tidily.

Without doubt it’s a stunning production, from the tree emerging from the mother’s tomb, to the suggestion of regal status by the use of rust-hued pillars and a fussy sofa. Cinderella’s ballgown shimmers with its vertical wheat-like strands matches the billowing scarf-like train as she rides on the wheels of her gallant fates.

I enjoy stage business when it provokes a smile and is appropriate to the action. The global trek changed: three princesses come to conquer in a broadened riff of Swan Lake. Mother Hortensia’s inebriation rated a chuckle or two, and the nastier of the two sisters made appeared in a garmentless hoop with an overnight suitor quickly departing with drooping suspenders. (How could he have reached her?) The candidates to fit the slipper paraded and departed on a row of chairs, any remaining hastened by a functionary in glinting medieval armor; the chairs gradually lurched their way upwards before the final shoe fitting.

Clearly those excellent dancing Fates were employed to emphasize the magical crucial moments; however, the story’s message is strong enough to dispense with their services. When Cinderella retrieves her slipper from the sequestered fireplace niche, she is lifted. Granted, the lodging was high enough to require some assistance; but did it need to be that high in the first place? The interplay between Chung and Karapetyan was sufficiently strong to convey special recognition, a felicity that grew between them throughout the performance.

Would I want to see it again? Sure. I would hope for an unexpected encounter with Elaine Connell, former Asian Art Museum Commissioner and one time seventh grade school teacher in San Francisco who said her class nick-named her Blanca Brujo. Her friend Nancy Zacker regaled us with references to her relatives living in pre Gold Rush Sutter’s Fort. At intermission I was introduced to Don Blateman and his wife Emerald. Blateman was responsible for the inspiring documentary on the three Berkeley housewives/mothers who pioneered saving San Francisco Bay. It was a few hours of evenly balanced fantasy, memoir and social vision.