Tag Archives: Grand Ballet de Marquis de Cuevas

Stern Grove’s 76th Season and San Francisco Ballet’s Annual Appearance

1 Aug

July 28 remained stubbornly overcast, but not so cold that union regulations forbade San Francisco Ballet dancing. My friends shared with me a table graced by Teri McCollum and her friend Tab, an excellent view of the stage, and as the program began, anyone who could manage the space between the granite-lined path and bench legs. A couple of women even managed to sit on the Igloo at the end of the table.

What was seen was deliberately selected for an audience as intent on food and company as on the stage, designed to enjoy without heavy emotional engagement, but skillful, very much so. This year’s roster comprised, “From Foreign Lands,” Alexi Ratmansky with Moritz Moszkowski music of the same name, the cultures being Russian. Italian, German, Spanish and Polish; Stone and Steel, Myles Thatcher’s ballet for the School’s May concert to music of Michael Nyman and Yann Tiersen. Then a pas de deux for Yuan Yuan Tan and Damian Smith by Edward Liang to Thomas Albinoni, titled Distant Cries preceded the finale Suite en Blanc, Serge Lifar’s 1943 display for the Paris Opera Ballet to the music of Edouard Lalo.

The Ratmansky work comprised successively a pas de quatre of two couples; a pas de quatre with three women and one man; a pas de quatre with one woman and three men; and pas de quatre for two couples and the finale a pas de huit for four couples. The first, Russian, was a slight rivalry and partner change with Sasha de Sola, Jaime Garcia Castilla, Frances Chung and Gennadi Nedvigin, and the initial pairing, sparkling allegro and a pair of more lyric limbed dancers – in the end winding up one with each. Castilla and Nedvigin made a fascinating visual contrast in their initial appearance, the legato and the crisp, both admirably schooled. In the Italian Joan Boada displayed his elevation for Dores Andre, Dana Genshaft and Sarah Van Patten. Simone Messmer, formerly with American Ballet Theatre, made her debut in the German number opposite Luke Ingham, Myles Thatcher and Shane Wuerthner whose function primarily was to lift her aloft, allowing her to inspect them, the role originally danced by Sofiane Sylve. Frances Chung, Sarah Van Patten, Joan Boada and Gennadi Nedvigin returned to make like Spaniards, all aware of their mutual charms. For the finale, the Polish, there were jumps for the men in addition to partnering for the women. Ratmansky has a deft touch, conveying flavor without laboring the point, and it moves such a slight work along with great charm.

Thatcher’s Stone and Steel is another work displaying his growing capacity to organize an ensemble, moving the dancers individually and collectively. This ten dancer ballet was created to music by Michael Nyman and Yann Tiersen; as suggested by the title, the ambiance was insistent and the execution crisp. Sasha de Sola was the only soloist with the nine from the corps de ballet, including new corps de ballet members, Isabella de Vivo and Wei Wang; both had been utilized during the spring season, either as apprentices or in the student performing group. The other dancers were Jordan Hammond, Kristina Lind, Julia Rowe, Sean Orza, Steven Morse, Henry Sidford and Lonnie Weeks.

Distant Cries started out with Yuan Yuan Tan moving in silence and joined by Damian Smith as the music commences. Their long-standing partnering is invariably a pleasure to watch, he displaying her long limbs to great advantage. At the end Damian retreated upstage center and Yuan Yuan was left alone, perhaps portending his retirement rumored for the end of 2014’s season.

I would love to know the roster of the dancers who created the various sections of Lifar’s Suite en Blanc in Zurich just about six months before Paris was liberated in 1944. I know Lycette Darsonval and Yvette Chauvire were among them, as well as Roland Petit and Janine Charrat. Jean Babilee, because he was Jewish, had left the Opera Ballet to join the Resistance. Carlos Carvajal can recite who danced what when the ballet was danced by the Grand Ballet de Marquis de Cuevas.

Marie-Claire D’Lyse, Kristina Lind and Jennifer Stahl wore romantic length tutus for the opening sieste, followed by another pas de trois with Sasha de Sola, Davit Karapetyan and Vitor Luiz, whose principal assignment seemed to be grand jetes and beats while turning. Clara Blanco in serenade was charm with a fair amount of pique steps; the effectiveness slightly lost because the corps behind her is elevated on ramps when danced on a proscendium arched stage. This also was true for Dores Andre’s appearance in the pas de cinq with Esteban
Hernandez, Wei Wang, Lonnie Weeks and Dmitry Zagrebin.

This served as debut performances for Hernandez and Zagrebin, particularly when the four men beat entrechats in a line. Hernandez is the brother of Isaac Hernandez, now with Het National Ballet in the Netherlands. Shorter thant Isaac, I first saw Esteban at the USA IBC in Jackson in 2010, where he received the Jury Award of Encouragement. I also look forward to seeing more of Zagrebin, Bolshoi trained and former company member; he garnered a gold medal at Seoul’s International Competition in 2010.

Vanessa Zahorian transcended the title of her solo, cigarette, with her usual flair to be followed by one of the company’s India rubber balls, Taras Domitro in mazurka. Wan Ting Zhao and Tiit Helimets were featured in the pas de deux before Sofiane Sylve appeared in flute. In this fleeting glimpse before the finale, Sylve managed to capture the audience’s focus with the like strength that captivated an earlier Stern Grove audience when she danced the second movement of Balanchine’s Symphony in C. She projects simplicity but with a quiet fierce majesty rarely failing to satisfy a witness.

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Casting for San Francisco Ballet’s January 24 Gala

23 Jan

While there are the usual admonishments regarding program and casting changes, San Francisco Ballet posted the current Gala casting on its website, and it is interesting in new pairings, some new works and a repetition or two from recent elegant memories.

Sasha de Sola and Pascal Molat lead off the evening with Balanchine’s version of  Louis Gottschalk’s  Tarantella, followed by the final solo from Roland Petit’s L’Arlesienne with Pierre-Francois Villanoba, the music by Bizet.

Vilanoba danced it early in his sojourn here, excelling as usual with its dramatic challenge. With either his rumored or stated retirement at the end of this season, the choice is spot on.

From drama to the gentle August  Bournonville flirtation and romance, Clara Blanco will debut in the Flower Festival at Genzano with Gennadi Nedvigin.

Myles Thatcher, still a member of the corps de ballet, has created a pas de quatre for Dores Andre, Dana Genshaft, Joan Boada and Jaime Castilla titled In the Passerine’s Clutch, the score being that by Wojceich Kilar’s  Like me, in case you didn’t know, passerine refers to perching birds, ranging from larks to finches, crows and swallows.  Thatcher has created the costumes with Susan Roemer, the Smuin Ballet dancer.

Lorena Feijoo, dancing for the first time since the birth of Luciana. will probably wow us in Raymonda’s solo from Act III of the same-named ballet set to music by Alexander Glasunov.  Welcome back, Lorena.

I suspect an Intermission will follow after Raymonda or the following pas de trois with Sarah Van Patten, Tiit Helimets and Vitor Mazzeo in Helgi Tomasson’s Trio set to a Tchakivsky score.  It should because a brilliant post intermission launch could be the grand pas de deux from Don Quixote, a debut for Frances Chung with Taris Domitro.  To the warhorse tunes of Ludwig  Minkus and Ricardo Drigo, it’s the version jointly mounted by Tomasson with Yuri Possokhov, with this bravura piece little changed from its original choreography.

John Cranko’s Act I pas de deux from Eugene Onegin will be reprised by Maris Kochetkova and Victor Luiz, who danced it at the company’s local premiere last year.

From bravura to drama to sauce, the program lists next the cheeky  Balanchine salute to John Philip Souza’s The Stars and Stripes, arranged by Hershey Kay, with Vanessa Zahorian and Davit Karapetyan.

Christopher Wheeldon’s evocative pas de deux to Arvo Part from After The Rain will be danced by Yuan Yuan Tan and Damian Smith.  Smith is another principal dancer who seems to be slated for retirement at the end of the San Francisco Opera House season.

With this quartet of  stylistic difference, the Gala audience will get a bit of 20th century ballet history with a pas de deux from Serge Lifar’s Suite en Blanc, set to music by Eduoard Lalo..  Sofiane Sylve and Tiit Helimets will do the honors of a work Carlos Carvajal, who danced it during his days with the Grand Ballet de Marquis de Cuevas,  says is meant simply to display the company.  The full version is slated for Program I on January 29.

There doubtless will be a final company ensemble, but it was not listed this morning.

Carlos Carvajal to Stage Work in St. Louis

5 Aug

Native San Franciscan Carlos Carvajal, whose initial dance experience was with Chang’s International Dancers before studying and performing with San Francisco Ballet and spending a decade in Europe, has been invited to stage a work in St. Louis. In September he will mount a work for the  Kuchipudi Art Academy of Dance of St. Louis which will be performed October 29.

The Art Academy was founded in 1980 by Sujata Vinjamuni, a student of Padmavibushan Vempati Chinna Satyam, the ne plus ultra of Kuchipudi dancing.  Also schooled in Bharata Natyam, Vinjamuni was honored this spring from the Government of Andra Pradesh for her devotion to Kuchipudi.  The Academy’s website mentions its practice of giving the program proceeds to worthy causes in the St. Louis area.

Carvajal mentioned that the commission found him remembering Golden Rain, created for his company, Dance Spectrum.  “It has an interesting movement base, but only a springboard; of course the music will be different.”

After returning to San Francisco, Carvajal danced once more with San Francisco Ballet, was its ballet master, choreographing Totentanz and Genesis before leaving to start his own ensemble.  While in Europe, Carvajal danced first with the Grand Ballet de Marquis de Cuevas, The Bremen Opera and the Opera in Bordeaux.  He was a soloist with the Grand Ballet when Rudolf Nureyev made his European debut in Bronislava Nijinska’s production of Sleeping Beauty.  Currently, Carvajal is co-artistic director of World Arts West’s Ethnic Dance Festival