Tag Archives: Taras Domitro

An October Gala in Moscow

8 Jul

Olga Guardia de Smoak is the go-to person on most matters relating to classical ballet. She currently is serving as the organizer for the March 26-28 Semi-Finals for the VKIBC to be held in New Orleans March 26-28, 2017, prior to the June Competition in New York City.

This current activity is simply one of a lengthy string of ballet events Olga either has master-minded or assisted in bringing to fruition. From my standpoint, and personal involvement, one of her stellar achievements  was organizing the 2000 Ballets Russes Celebration in New Orleans, enabling Geller/Goldfine Productions to jump start their remarkable documentary The Ballets Russes.

In the process of asking me to identify West Coast dance teachers who might want  to send students to the VKIBC semi-finals, Olga mentioned a mid-October Gala at Moscow’s Bolshoi Theatre  being facilitated by Jelko Urasha, former Festival Ballet dancer and husband to the late Belinda Wright.

It seems that ,besides his noted staging of Pas de Quatre for four ballerinas, Sir Anton Dolin created a Pas de Quatre for men, naming the variations for the elements of Wind, Fire, Air and Water. This work will be presented at the October Gala, featuring the following male principals: Marian Walter, Berlin Ballet;  Artem Ovcharenko, Bolshoi Ballet ; Vadim Muntagorov, Royal Ballet; Taras Domitro, San Francisco Ballet.

At this writing, the music is unknown, but will be posted when available.

July 8, 2016  Olga Guardia de Smoak and Deborah Brooks came to the rescue  with the name of the composer: Marguerite Keogh.  The title of the music is Variations for Four.Keogh apparently was a musical accompanist for Dolin and Festival Ballet. The work was created in 1957.

Thanks to both informants.

 

 

 

 

 

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San Francisco Ballet’s Program Five: Gathering and Swimming

29 Mar

March 16 San Francisco Ballet presented just two ballets with highly opposite treatments: Jerome Robbins’ 1969 Dances at a Gathering to Chopin’s music played by Roy Bogas and the 2015 Yuri Possokhov work called Swimmer with a composite score by Shinji Eshima, Kathleen Brannan, Gavin Bryars, and Tom Waits. Hard to conjure more divergent use of the classical canon. The divergence in taste was testified to by a distinct winnowing of the audience following Dances at a Gathering.

Dances at a Gathering was premiered at New York City Ballet 47 years ago. I dare say it is for the American ballet world what Les Sylphides was for Russian Ballet in the early 20th century. Staged again by Jean-Pierre Frohlich with Jenifer Ringer Fayette with Jennifer Tipton’s sensitive lighting, it demonstrates just how aware Robbins could be in his creative insights forty six years ago. The dancers waft on and off with remarkable naturalism, starting with Joseph Walsh touching the earth, the space where the emotions would follow, lightly but indelibly sketched. Lorena Feijoo was given the difficult task of a feminine initiator, rebuffed several times, but taking the rejections with hands moving from the wrist, “ Tout va change, tout va reste le meme chose.”

I was particularly caught by Carlo Di Lanno’s dancing. When he raises his arms en haut, he does it with a breath, the inhalation providing a distinct lightness to the movement. When the group of three man were dancing on a slight diagonal line opposite three women, his port de bras perfectly echoed the line of his extended right leg, a moving diagram in dance.

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Vanessa Zahorian and Carlo DiLanno in Robbins’ Dances at a Gathering. (© Erik Tomasson)

Supported by Ray Bogas at the piano, Dances at a Gathering spun its mid-summer late afternoon magic, leaving us intensely gratified and wanting to see it again soon.

Swimmer enjoys Alexander V. Nichol’s superb visuals with Taras Domitro waking, executing perfunctory exercises, of course exaggerated, showering with projections expanding the splashes – outlandish in our drought conscious society – before sitting down to breakfast with the papers –which were flashed large and varied as Domitro sits in front of cardboard wife and children before having another cardboard wife deliver him his jacket. Kate Duhamel’s video designs accent the vignettes throughout, water being one of the principal themes, from the shower to the ocean. I felt the water image in its various forms was somewhat overdone, a “get my point, see what I mean” emphasis. Domitro was marvelous throughout, lean, agile and airborne.

Next follows “the commute,” featuring fellow passengers, another visual bus, strap-hangers, bus chugging along, going up hills and a thoroughly exaggerated 190 degrees, a wonderful tunnel, before portraying “the office,” equally exaggerated. Projections of computers and reams of paper being spewed out flash across the screen, walked across for checking with a woman signing the stack furiously. No doubt about it, as a retired office worker myself, Possokhov has an unerring comic touch.

Up to that point Possokhov is dead on. Then he has his “hero” encounter mass media, Hollywood, Pool Party and a First Swim, followed by specific literary references; they unfold, conveying the essence of subject matter as seen from a foreign-born, foreign resident’s eye. Apart from content, and unlike prior Possokhov productions, the stage settings begin to blur choreographic patterns and dancers. If that was the intent it certainly succeeded, but it marred some glimpses of excellence, particularly of Gennadi Nedvigin and Pascal Molat whose company performing days dwindle down precipitously, an overly advanced September.

Tiit Helimets and Maria Kochetkova enacted Lolita with the seduction gradually changing from man to nymphet to nymphet to man, followed by Lorena Feijoo and Vitor Luiz on stairs. Carolyn Carvajal observed that both pas de deux were danced to songs rendered with Tom Wait’s gravelly voice; a neat observation between voice and the physical encounter, regardless of motivation.

Swimmer
has an ability to convey a certain quality in contemporary American life, a shallowness all too prevalent, images piled one after another to make one cringe at its unerring display of distractions, of sensation minus feeling. The contrast with Robbins’ work was telling.

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.

Program VIII SF Ballet’s Romeo and Juliet

6 May

May Day, May Day, May Day – San Francisco Ballet opened Helgi Tomasson’s Romeo and Juliet at San Francisco’s Opera House with the incredible costumes and set by Hans Jens Worsae, some stalwarts in their accustomed roles and several new ones, and, of course, that score by Sergei Prokofiev.

I would swear the some of the choreography had been altered; such imaginings the curse of an imprecise memory and seeing a number of same named productions by different companies. Here there are so many wonderful touches, from the Verona town square arousing from dawn to early morning. I do not remember the rose window of the church being illuminated, or reflected either in the scene where Romeo and Juliet are wed by Friar Lawrence, or when Juliet comes rushing for guidance from that pivotal ecclesiastical figure.

When the company first produced the ballet, Rita Felciano and Eric Hellman organized a symposium around the production, mentioning the original production by Vana Psota in Brno, Slovakia just before World War II and the German takeover of the short-lived republic of Czechoslovakia. Juliets then in the company also were interviewed.

The key speaker for me, however, was an historian who had researched the demographics of Renaissance Italy, basing his findings on the data available in Florence, and, presumably, Tuscany. He found a substantial number of
single parent households, the woman in charge of young children, the husband deceased, documents recording his age at least a decade or two older than the widow. The historian, and forgive my failure to identify him at this juncture, concluded that the young men went off to war, the older men, survivors of conflicts, married the dewy young damsels, and that romance, let alone marriage between age-alike young men and women was unthinkable. Ergo, why is County Paris clearly a stripling in the figure of Steven Morse? Why not Jim Sohm or Reubin-Martin-Cintas as more historically accurate, whose name also implies his possession of quite a spread of hectares?

That harangue completed, I have only praise for the pairing of Val Caniparoli and Sofiane Sylve as the Capulet parents, the easy grandeur of Caniparoli and the intense swirling elegance of Sylve were exactly right. Sherri Le Blanc, making a debut as The Nurse, seemed less lusty but equally caring as Juliet’s Nurse, and as Tybalt, Anthony Vincent (heretofore named Spaulding) was elegant, sinister, a calculating figure, clearly frustrated by Lord Capulet’s insistence on politeness within the family palace.

When the House of Montague appeared, Jeffrey Lyons and Lacey Escabar seemed slightly defensive in the power contest, given to spirit more than concerned with tangible spoils. In Mercutio, Taras Domitro seemed to personify this, less an older pal to Romeo than an impulsive intuitive with vast technical gifts. As Benvolio, Hansuke Yamamoto was required to bring some gravitas to the merriment which he did with elevation and elan. In Carlos Quenedit, there was Romeo you might have seen with his gang, sporting a Giants ballcap turned backwards, relaxing around a motorbike or with a group of mechanics, likeable, young, competent, as innocent of poetry as he was on the mark as Basile in Don Quixote.

The role of Verona’s Prince has always been well served by Martin Pistone, cutting a figure of physical power with the will to use it. Dores Andre and Dana Genshaft made slender, spirited, clearly street-wise harlots, Andre’s discovery of Mercutio’s imminent death particularly sharp. The trio of acrobats, Noriko Matsuyama, Francisco Mungamba and Wei Wang were adept in their assignment, Wang’s strength an interesting contrast to Mungamba’s flexibility and Matsyama’s pertness. Mercutio’s death scene gave Domitro the chance to demonstrate dramatic power, combined with his prodigious technique, showing what his dramatic gifts can provide. I wonder if he might make a better Romeo.

Sarah Van Patten first danced Juliet when she was 16 with the Royal Danish Ballet, before joining San Francisco Ballet. Her partner prior to Carlos Quenedit was Pierre-Francois Vilanoba; I confess to missing him. Her interpretation possesses a gossamer dusting of impulse and emotion; the initial meeting and the balcony scenes were explorations to be followed by the culmination in the early morning final pas de deux. Particularly impressive was Van Patten’s fateful behavior in her bedroom with the senior Capulets and Paris. The Capulets’ insensitive ploughing ahead with nuptial plans despite Tybalt’s death, more implacably so by Lady Capulet – the sweep of her skirt as telling here as in the ballroom, Sylve’s face marvelously stoical, her gestures and movements conveying it all, pulling the velvet yardage away from Juliet’s grasp. Helgi Tomasson’s production, visually splendid, is both a challenge to the company and a pleasure to its audience.

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.

2014 Nutcracker Season, San Francisco Ballet

15 Dec

December 12 was San Francisco Ballet’s night to start its season of the Nuts, multiple castings, opportunities for corps members. With Martin West conducting the company’s orchestra, the audience enjoyed a remarkably buoyant performance, which can be partially attributed to its enormous success in Europe this summer. Mary Beth Smith, heading the company’s marketing and communications, remarked in the Opera House press room that after the company’s closing night performance at Theatre du Chatelet in Paris, where Diaghilev’s Ballets Russes made its 1909 debut, “The applause went on for twenty minutes. It was spectacular, and you know Parisians know their ballet.” Following this performance, the company goes into a twice daily mode, two and seven p.m., a total of thirty performances, including two on Christmas Eve.

Friday night’s inauguration featured Ricardo Bustamonte with extra flourishes and complete gallantry, while Ruben Martin-Cintas and Katita Waldo made the Stahlbaums elegant, assured, hospitable. Jim Sohm outdid himself as Grandpapa; Kristi DeCaminada as Grandmere. Both parents and small fry were less numerous, but the numbers cohered in the overall scenic impression, avoiding the cast of thousands mould.

Clara Blanco danced her iconic doll, Esteban Hernandez made an impression as the Nutcracker out of the Box and Max Cauthorn in yellow Milliskin was willowy, off balance and technically excellent.

The transformation scene – from 1915 Panama-Pacific era privileged San Francisco to dream exaggeration of furniture, presents, tree, mice and gas fireplace – continues to be impressive; mice scamper, toy soldiers execute the directions of the Nutcracker with his sabre, while Clara watches avidly. Sean Orza’s Mouse King exhibited brawn, and elegaic agony after his leg was caught in the mouse trap, his dying crawl into the prompter’s pit, “Tis A Far Better Thing I Do’ from Dickens’ Tale of Two Cities.

Luke Ingham as Nutcracker Prince cuts a refreshing athletic image once out of Mask and Nut trappings. He’s gallant, but no nonsense, like a good Aussie invariably seems to be; his battement a la seconde is eagle sharp. Not a bad mixture. Audrey Armacost as Clara responded well to his partnering.

The carriage arrival brings its own magic, its white and silver sleigh, pawing, prancing ponies, masks crowned with nodding plumes. I’m not sure the ancien regime could have improved on these equines.

The snow monarch roles were handsomely filled by Vanessa Zahorian and Taras Domitro. who followed after the snowflakes appeared under drifts of artificial flakes continuing to fall, audibly, during the entire number until the final grouping around the principals was almost obscured by moving white density. Early on Domitro stumbled a bit; I suspect this artificial blizzard may have contributed. However, his grand jetes and entrechats were his standard brilliant, Zahorian sailing through her virtuosity with usual aplomb, her earlier injury definitely behind her.

After the intermission the curtain rose on the evocation of the Conservatory, with butterflies, lady bugs, and moths, marking time with port de bras and pique arabesques before the arrival of The Sugar Plum Fairy (SPF) in the person of Mathilde Froustey. Froustey possesses the current ideal for the feminine ballerina; beautiful proportions, long neck, face of piquant charm, port de bras devoid of angled elbow, good jump, supple expressive upper back, an intuitive emphasis in phrasing or response. A cogent example was her emphasis asking the Nut Prince “Why are you here?” Not a doubt about the query.

Luke Ingham’s mime was salutary, particularly good with whiskers. The SPF had decreed the entire dream troupe witness the recitation, a nice move. While the Spanish pas de cinq was good, the Arabian trio was especially well-balanced with Dana Genshaft, and Daniel Devison-Oliveira and Anthony Spaulding, intense, finished. Francisco Mungamba’s Chinese shone with knife-like jetes. The French trio danced my-not-so favorite variation spritely, Wan Ting Zhao’s phrasing eye-catching. The Russian Faberge trio burst out into Anatole Vilzak’s classic variation led by Hansuke Yamamoto with Esteban Hernandez and Wei Wang.

Benjamin Stewart garnered a warm response as Smoky Bear with Louis Schilling and the bevy of San Francisco Ballet School students, precursor to the Waltzing Flowers, framing the SPF in this version of the Tchaikovsky classic. Bland, symmetrical and nicely executed, the ensemble is supposed to set off the central rose; Froustey could be better served. However, the ensemble requires its musical share and the notes received visualization with skill.

In this version the prelude to the Grand Pas de Deux refers to the Chinoiserie tower bibelot, Clara’s gift in the first act. The SPF retrieves a tiara from a cushion brought her by a uniformed attendant which she places on Clara’s head before leading her to the mirror inside the open box. Froustey’s brief escorting, was affectionate, a reinforcement shared with Sofiane Sylve who conveys similar feminine warmth.

The double doors close, the tower turned, the doors reopen and outsteps the adult Clara in hues of gold and celadon, Yuan Yuan Tan, ready to wow us, dispatches the gestures of awe and transforming admiration to the barest stroke, a principal flaw in an otherwise brilliant performance. Tan is becoming accustomed to Luke Ingham as a partner; she should feel utterly secure. Ingham promises Tan as good or better she enjoyed with Damian Smith; the partnering, particularly Tan’s height in the running catch as the Tchaikovsky score soars were. flawless. Tan’s face, with its feline qualities, registered satisfaction along with her usual aplomb.

The variation reprises then follow, to warm applause, and the aggregate ensemble coalesces to allow Drosselmeyer, couch and Clara to enter and for him to reassemble the Stahlaum mansion,for Clara to awaken, clutch her toy and run towards Mother Stahlbaum’s arms as the curtains descend.