Tag Archives: Vitor Mazzeo

San Francisco Ballet’s 2013 Gala, January 24

11 Feb

Celebrating San Francisco Ballet’s 80th season, Helgi Tomasson gave his audience and supporters a sleek event of pas de deux, a pas de trois, one pas de quatre, a solo and a final ensemble excerpt which will begin Program I January 29.

I am fascinated by the choices Tomasson sometimes makes for partners, particularly for fluffy moments like George Balanchine’s Tarantella to the tinkly music of Louis Gottschalk, which sounds  like a precursor to early New Orleans jazz. So much so you can imagine it on an early Victor Red Seal record or envision it being played on an out-of-tune upright piano in some seedy New Orleans dive.  Pairing Sasha de Sola and Pascal Molat was novel, although de Sola conveys jauntiness along with her extraordinarily straight back.  Molat can dance the cheery street urchin in any guise thrown him,  his final measures soliciting every last centime.

Switching gears the suicidal solo from Roland Petit’s L’Arlesienne touched on daring the audience; it worked. Pierre Francois Vilanoba made one of his initial impressions in the company dancing this role and the title of Lar Lubovitch’s Othello.  A dozen years later, Vilanoba conveyed the mental dislocation with a honed ferocity, a  image of suicidal madness worth remembering, circular grand jetes, flailing arms, riveted gaze.  Petit doesn’t always get many marks for his choreography, but his theatricality is unmistakable.

Returning to the light touch, August Bournonville and his Flower Festival at Genzano with Clara Blanco and Gennadi Nedvigin was another surprise pairing, nicely matched in size and sweetness.  Blanco could have been better coached;  she was half way between her iconic Nutcracker Doll and the thoughtless Olga in Eugene Onegin.  Nedvigen’s finishes in tight fifths elicited enthusiastic applause.

Myles Thatcher’s In the Passerine’s Clutch was conceived as a pas de quatre for Dores Andre, Dana Genshaft, Joan Boada and Jaime Garcia Castilla and enjoyed a premiere at the Gala. Thatcher used music from the prolific compositions of contemporary Polish composer Wjceich Kilar and is his third choreographic essay for San Francisco Ballet affiliated dancers.  Passerines are called perchers and number the greatest proportion of birds in the avian kingdom, including swallow, ravens, thrushes, sparrows, warblers, even the Australian Lyrebird.  Thatcher’s attempt to capture the darting, clustering, clampering, quarreling and mating deserves a second viewing.

Lorena Feijoo made her first appearance since giving birth to Luciana in the Act III variation from Raymonda, hand slaps and all  to Alexander Glasunov’s insinuating music .  Feijoo’s delicate sensuality was touched with a distinctly regal quality.  Audience members clapped when she appeared on stage.  Shades of Alexandra Danilova.

Tomasson’s Trio featured Sarah Van Patten, Tiit Helimets and Vitor Mazzo, in the section of the work set to Tchaikovsky music.  They danced an eloquent, inevitable triangle with Mazzeo as the dark figure luring Van Patten from Helimets arms, Mazzeo bearing a limp Van Patten off stage right with Helimets alone and forlorn at the curtain.

The Wedding pas de deux from Act III of the Petipa-Gorsky Don Quixote  completed the Gala’s first half, danced by Frances Chung and Taras Domitro as Kitri and Basilio in the lustrous white costumes designed by the late Martin Pakledinaz.  Rendered with eloquent understatement, and measured formality, Paul Parish mentioned Felipe Diaz, one-time San Francisco Ballet soloist and currently a company ballet master, had rehearsed the two.  Paul observed, “You absolutely have to have someone tell you where your head needs to go, where your eyes should focus.  It’s something you cannot do alone, or just with your partner.”  Chung and Domitro emphasized polish more than bravura.  That seemed to disappoint a number of individuals, but it suited me just fine.

Three pas de deux and one ensemble piece were the  Gala’s second half content, a paean to the company’s repertoire range.  Maria Kochetkova and Vitor Luiz reprised the first act dream scene between Onegin and Tatiana where John Cranko’s Tatiana sees Onegin emerge from her bedroom mirror in a dream.  Given the elaborate set, one understands why Tomasson chose this snippet to open the second  half; it’s a major production operation.

On to the strains of John Philip Sousa and Balanchine’s wonderful spoof of the Sousa  brass umpapa.  This 1958 romp for New York City Ballet was first danced by San Francisco Ballet in 1981; I can remember Madeline Bouchard, Anita Paciotti and David McNaughton scintillating in their assignments.  Here Vanessa Zahorian and Davit Karapetyan took on the Stars and Stripes  pas de deux created by Melissa Hayden and Jacques D’Amboise.  Here danced for a sunny pertness rather than the broad good humor originally conveyed,   Zahorian and Karapetyan came across cheerfully.

Yuan Yuan Tan and Damian Smith danced Christopher Wheeldon’s pas de deux from After The Rain, set to Arvo Part’s extended ethereal score which never seems to conclude. It was an etched, elegant performance, tender but seeming to proceed under glass.

Excerpts from Serge Lifar’s Suite en Blanc finished the Gala, an ensemble piece which has become de rigeur in a Tomasson-run Gala, serving to remind the audience that a company stands or falls on the calibre of its corps de ballet as much as the brilliance of its principal dancers.  Lifar, who was the last major male dancer to rise under Sergei  Diaghilev’s influence, was ballet master for the l”Opera de Paris ballet company from the mid-‘Thirties through World War II, including  those four long years of the Nazi Occupation of most of Northern and Central France.  This work was premiered some mother prior to D-Day and in Zurich, appearing to lack any reference to the privation the French dancers were experiencing.

While I intend to discuss the ballet further after seeing the entire work, it was marvelous to see Sofiane Sylve as one of the center dancers, conveying in her bones the style and presentation required for this very French ballet.

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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.

San Francisco Ballet’s Program II, February 14 and 19

26 Feb

Moving to two programs of three one-acts from full-length as opener,  San Francisco Ballet’s  programming is gauging story ballets’  value to pull audiences in to the variety programs.  Judging by the two  Program II performances, it seems to be working.

With Wayne MacGregor’s Chroma, the premiere of Mark Morris’ Beaux and Christopher Wheeldon’s Nine in Program II, the company displayed three contemporary choreographers whose patterns and  diagrams provide distinct, differing moods.

On first glance last season and again this season, MacGregor’s Chroma displays parallels with  San Francisco choreographer Alonzo King but with two salient exceptions: MacGregor’s casts look each other in the eye, making connection, and the akimbo body movements are direct, more  forward moving than King’s, where  vibrato leads up to a posture, a lift or a plunging, supported arabesque possesses a distinctly jazz-like riff on a main theme. Also, MacGregor’s women dance in soft slippers, instead of pointe shoes. Moritz Junge’s flesh-like toned costumes were modest, if short, sleeveless slouchy tee-shirts over trunks.

The dancers appear before a neutral lit backdrop, framed, stepping over to dance before stalking off mostly to stage left or going to mid center on the same side or appearing again in the frame. Duos and trios start out singly, later dancing simultaneously when all ten dancers become frantically engaged at the finale.

In the first cast Pascal Molat and Frances Chung led off with the initial athletic pas de deux, but a model of tempered sensuality. Anthony Spaulding’s leading leg thrust up in jetes, a signature touch, while Maria Kochetkova affirmed her acrobatic training. Taras Domitro, Jaime Garcia Castilla and Isaac Hernandez adapted to the off balance style and  Garen Scribner made his movement seem geometric.

In the second cast Vito Masseo and Sofiane Sylve continued their  remarkable partnership; Daniel Deivision  his kinesthetic delivery; Sarah Van Patten her consistently strong attack. Koto Ishihara and Tiit Helimets lent strong visual contrast, Vanessa Zahorian’s musicality subdued by the choreographic demands.

Mark Morris’ Beaux chose nine male dancers to dance to Martinu’s Harpsichord Concerto. Exaggerated color spots by Isaac Mizrahi on both backdrop and the sleeveless unitard shorts for the dancers, showed off the finely-tuned male musculature handsomely, though the colored daubs did distract  This ballet possesses a similar timbre as Morris’ “A Garden,” something pleasant, seemingly off-hand, but actually sly, complex.

Morris used twos, threes, and quartets in phrases one normally associates with women, particularly women in a Balanchine ballet. Eschewing virtuoso turns, jumps, pirouettes, he relied on an
occasional gesture suggesting comraderie, mixing principal dancer and corps member  equally. The ensemble paused like men at a fancy ball, minus formal attire, though slight, enormously subtle.

Vito Mazzeo stood out like a signal tower,  Molat for his double duty for two consecutive ballets along with Castilla, and Joan Boada for his willingness to merge as part of the ensemble.

Christopher Wheeldon’s Number Nine launched with the sense of British martial music. With the startling ending where the women lept into the men’s arms, four sets of principals and eight pairs of corps members, Michael Torke’s score reeks of spit, polish, formations and parade grounds .  The dancers wore a yellow worthy of Van Gogh’s Provencal canvases, Holly Hynes echoing the ambiance by covering, rather than exposing the women’s bodies. Full strength was the order of the ballet with Dores Andres, Sofiane Sylve, SarahVan Patten, and Vanessa Zahorian joining Daniel Deivison, Vito Mazzeo, Ruben Martin Cintas and Garden Scribner rising to the occasion as if Admiral Nelson had sent an off stage signal, “England Expects Every Man To Do His Duty.”

This front and center delivery was repeated February 19 with Elana Altman, Frances Chung, Maria Kochetkova and Yuan Yuan Tan, partnered by Pascal Molat, Gennadi Nedvigin, Carlos Quenedit and Anthony Spaulding. In a first glimpse of  Quenedit, he presented himself as calm, cheerful with effortlessly good partnering skills.

It will be fascinating to see what Quenedit does with his assignment in Yuri Possokhov’s Francesca da Rimini.