Tag Archives: Yuri Possokhov

Yuri Possokhov shares Prix de Benois with Johan Inger

21 May

Through Olga Guardia de Smoak, I learned that Yuri Possokhov was awarded the Prix de Benois recently in Moscow, sharing the choreographic award with Johan
Inger of Nederlans Dans Teater. Possokhov, who is choreographer-n-residence at San Francisco Ballet and served as one of its principal male dancers prior to retirement from dancing, was cited for the Bolshoi Production of  A Hero in Our Time, recently premiered at the Bolshoi Ballet Inger received the award for his production of Carmen for Nederlans Dans Teater.

The full complement of winners is available on the Benois de la Danse website.

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A Brilliant, Rapturous Debut and Finale with Onegin

10 May

Thursday Night, May 5, Matilde Froustey and Carlo di Lanno made debuts as Tatiana and Onegin in John Cranko’s Eugene Onegin, augmented ably by Reuben Martin-Cintas as Gremin, Doris Andre as Olga and Benajmin Freemantle making his own debut as Lensky. A near capacity audience greeted them with absorption and an orchestra standing ovation at the conclusion, Behind me were two young women, one recently moved from D.C. and another originally from Texas, the latter being familiar with Miami City and Washington Ballet companies.

It never fails to fascinate me how differing heights and musculature alters not only “the look” of a ballet; without saying, the attack in a role, to say nothing of the artist’s perception of the material. This difference was apparent Thursday evening. Where Maria Kochetkova and Vitor Luiz are small and compact, Froustey, di Lanno and Martin-Cintas are tall, expanding phrases by sheer length, bringing the Russian verse novel into a western European orbit.

Froustey’s Tatiana commences with a pigtail down her back as she sits, stretches or reclines with her novel, appearing more studious than lost in a novel. In her initial encounter with Onegin, she is the polite French girl, propre rather than  curiosity for all the slender, willowy stretch of her body. She has an overwhelming gamine demeanor during the bedroom/mirror pas de deux ; as she writes of her passion, you can just see her at her classroom exercises. Her expression as the mirror dream evaporates is a wonderful, naive young vision of romantic expectation. Interesting was the reach of her lower torso in moments of chagrin or alarm during her name day debacle between Lensky and Onegin, and its effectiveness as she regards Onegin after his duel with Lensky where Froustey’s small round face evinces a stony gaze of defondu.

Ruben Martin-Cintas’ Gremin is more than a cipher. It’s one of the thankless roles in ballet, but he conveys the persona of maturity, a man of substance, secure in his position, and therefore able to appraise and evaluate situations and personalities. He brings this gently to Tatiana’s rescue in the name-day party, where she follows him automatically, while clearly distracted by Onegin’s coldness and the burgeoning confrontation between Lensky and Onegin.

Dores Andre’s Olga is a swift butterfly, skipping from moment to moment, happy at Lensky’s attention, drinking it in, if a bit reluctant to surrender, clearly evidenced by allowing Onegin to dance with her. His greater dance skill and way with women is quite flattering and she allows herself to be swept along with, not resisting until the damage has been done. Her willfulness is matched by the diffidence and decency displayed by Benjamin Freemantle. I wish I could have seen his second performance, which doubtless gained in strength from this initial interpretation. There was the making of a definite character there, but only beginning to be developed in this technically correct performance.

Then there was Carlo di Lanno as Onegin with his Roman coin profile, tall, correct, still; movements  betraying little emotion one way or another, except for a swift disdain for Tatiana’s material, and oh-so-correct-but-perfunctory partnering in the opening scene. In the bedroom mirror scene the emphasis is entirely on Tatiana’s ecstatic vision with beating arabesques, lifts and twists in Onegin’s arms. It is in the name-day scene, especially following the destruction of Tatiana’s letter, when Onegin sits down, having adjusted his cuff as a gesture of finish, to play solitaire, shuffling cards with revealing frequency that he betrays narcissistic  willfulness and the desire to intrude on the happy proceedings of Olga and Lensky. Onegin dances a bit too much with Olga; when she rejoins Lensky briefly, there passes over Onegin’s face an undeniable devilish impulse leading to Lensky’s gloves across his face before tossing them on the ground.

I also saw the season’s final matinee May 8, with Gennadi Nedvigin’s final performance with San Francisco Ballet. Di Lanno was appreciably more relaxed if still deliberate, masking emotion in the beginning; Froustey deepened her impression of the nearly sedate young gamine, kind to elders, who gathers strength in the duel scene; with Ruben Martin-Cintas they  both provide an image of a solid, happy marriage. The thankless role gets substance from Martin-Cintas’ size and demeanour, enhanced by the most over-decorated uniform seen on stage.

Gennadi Nedvigin’s final performance as Lensky seemed natural, unforced, his casual ease illustrating nearly three decades of training and performance.

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Gennadi Nedvigin in Cranko’s Onegin. (© Erik Tomasson)

The final, confrontation scene in Onegin gives both principals total permission to pull out their dramatic capacities; Di Lanno and Froustey rose cogently the two occasions. I saw them tear at their memories, the emotions they aroused against their present status. Their slender builds added to the etched quality of what must be marvelous Russian poetry, their line matching the musical turbulence of Tchaikovsky’s Francesca da Rimini’s aural passion. With kisses at the nape of her neck, the firm grip on the hand Onegin used to grasp her from eluding him, memory, reawakened passion and will power visibly struggled in Tatiana’s torso and slender legs. Finally, came the moment when his note was thrust in front of Onegin, ripped apart, “what goes around comes around” and Tatiana’s arm fiercely commands his departure before she struggles, half spent, bent before she faced the audience dead center, exhausted resolution written on her face and body.

Then came the curtain calls – the same order, Di Lanno kissing Froustey’s hands with appreciation. Froustey brought Martin West to stage center before West thrust Nedvigin forward for his final hail and farewell to San Francisco’s audience. Two figures entered from stage right with floral bouquets – Yuri Possokhov and Roman Rykine, who flew in from Winnipeg where he is ballet master for the Royal Winnipeg Ballet. Bear hugs ensued, clearly great emotions exchanged and lumps in the throat of balletomanes like myself.

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.

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 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.

The Joffrey Ballet Returns to Zellerbach

5 Apr

The Joffrey Ballet, now under the artistic direction of Ashley Wheater, a former Joffrey Ballet member and lengthy veteran of San Francisco Ballet’s artistic staff, came to Zellerbach March 14 and 15. I saw the matinee on March 15, and have to say I left my glasses at home. The dancers therefore were not very distinct even sitting in Row G, but the music was loud, clear and, mostly lengthy.

The moves clearly impressed themselves on an enthusiastic audience, probably one of the most responsive and willing any theatrical or musical performer has the good luck to enjoy.

There were three ballets and a pas de deux, all from contemporary choreographers; two have strong ties with San Francisco Ballet; Val Caniparoli and Yuri Possokhov. It was canny of Wheater to include them in the local Joffrey appearance. I think he was determined to assert the historic Joffrey profile as being au courant as much as the Joffrey also demonstrates a sense of history with works like Kurt Jooss’ The Green Table. The Chicago repertoire includes Don Quixote;soon Christopher Wheeldon’s interpretation of Swan Lake,. No one can accuse the company of losing sight of or involvement with the classics. Robert Joffrey’s Nutcracker pointed the way as did the very early Conservitoriat of Auguste Bournonville..

Caniparoli’s piece,Incantations, concerned itself with introspection to a very long, arduous score by Alexandre Rabinovitch-Barakovsky; there was virtually no way the piece could be cut and remain coherent; Caniparoli
adhered to every phrase, allowing toes to point, legs to lift into attitudes and arabesques, smoothly partnered, reflected the lengthy employment of chimes. I am afraid my attention span wants to edit length.

Victoria Jaiani and Temur Suluashvili danced Yuri Possokhov’s Bells, set to Rachmaninoff’s Piano Sonata #2. Murkily lit, beautifully danced, there is
something magnetic when Possokhov’s reliance on Russian composers features two dancers trained in the current Russian teaching tradition who also are husband and wife. San Francisco Ballet possesses at least two such couples, They make clear legal intimacy elsewhere helps to foster a special innerness when dancing in a contemporary work without narrative. Someone remarked “They don’t show relationship.” My take was relationship was so strong obvious manifestations wasn’t needed.

Alexandre Ekman’s Episode 31 possessed a certain zaniness about it which echoed faintly some of the Arpino cheekiness, while still being very different. His screen images at the back, the rushings around the stage made me wonder whether it was his reflection of observing workaday life in Chicago. The Joffrey Ballet is housed in the heart of downtown Chicago, so bustle and the El are routinely present. Chicago dwellers must have loved it, recognizing the stop and start, the energy the dancers poured into the work.

As to Stanton Welch’s ballet to the music of John Adams, I remember little except the pleasure of seeing Rory Hohenstein providing a skillful, substantial contribution.

In Dancetabs.com Aimee T’sao expressed the hope that Cal Performances finds a way to give the Joffrey a yearly slot as it allows for the Ailey and Mark Morris ensembles. While I think it unlikely on a yearly basis, I endorse seeing them every other year. Berkeley was an important place in the Joffrey some forty years ago, thanks to the touring program the Dance Program of the NEA fostered for all too brief a time.

Arpino’s Trinity was premiered at the Zellerbach before the Joffrey began to be sponsored by the San Francisco Symphony whose musicians provided the music the Joffrey danced to. It all vanished when the Symphony moved into Davies Symphony Hall and the Opera and Ballet claimed San Francisco’s Opera House all for themselves. No more American Ballet Theatre in February; no more Joffrey Ballet in June; no more theatre space of 2,000-2,500 seats to entice companies to negotiate dates to appear anywhere West or South of San Francisco’s Embarcadero. Apparently, Mayor Ed Lee and others governing San Francisco’s 49 square miles, have no plans for such a theatre, easily accessed, with sufficient parking space to draw a crowd which loves something in addition to rock, hockey, baseball and football.

Still, I want to see Arpino’s Kettentanz again.

San Francisco Ballet’s Program Five, Don Q

3 Apr

Even with the umpah nature the Minkus score provides for Don Quixote, it’s a romp;for these creaky old bones, it’s like comfort food as visible signs of the old order, mythical or otherwise, crumbles at each pothole on San Francisco’s principal streets. Only the new dual fuel buses with their accommodating buttons and the hand friendly curve below on the yellow painted metal poles can convince me The City That Knows How is doing exactly that for its motley inhabitants. And it’s really nice that the Civic Center Parking Lot charges only $3 an evening to devotees of ballet’s classical war horses. I grab for reassurance anywhere that the world can still possess moments of “It’s all right Jack!” or similar Cockney cheer. Recently, there has been Lawrence Ferlinghetti for back up on PBS.

My colleagues are swifter, faster, more disciplined when it comes to credits for the make overs of this Petipa production adapted by Gorsky for the Bolshoi Ballet. Gorsky’s influence is felt because Yuri Possokhov, who danced in it, collaborated with Helgi Tomasson on San Francisco Ballet’s production, with its lovely set but some color clashes in Packledinaz’ costuming. The work itself is meant to tease, dazzle technically and embrace romance with just a dusting of Spanish flavor. Marius Petipa must have been far enough away from his own Spanish shenanigans to incorporate them in the original production. Yes indeed, in his early years he was something of a rogue.

My colleagues doubtless have explained that from a small segment of the Spanish novelist’s opus, there was a Kitri; she was extracted and made central to a plot prevalent through most of social history: Daddy, an innkeeper or tapas supplier, wants daughter to marry well and safely; translate money. Daughter wants to choose; in this tale, with the “quixotic” Don and his retainer Sancho Panza it happens with the aid of gypsies and a wind mill, providing the excuse for some very classical 19th century style dancing. In between, sunny Spain provides friends and townsfolk who love to gather in taverns and some toreadors and their romantic partners. Finally with a feigned suicide, the lovers are blessed and the marriage scene is danced with the warhorse pas de deux, which, when done well, gets us all whooping and hollering with delight at the curtain.

Jim Sohm is making an unofficial second career portraying seniors, daft or domestic; he is doing it very well. He’s tall and hefty enough to give Don Quixote a presence and muscle. With Pascal Molat’s minted Sancho Panza, gem-like in his rogue behavior and eye for purloined gluttony, the pair thread through the narrative, making it coherent while still implausible. The selling point of the ballet for me is the contrast between the girl-boy spectacle and the wonderful characterizations possible in stock theatrics. Val Caniparoli and Anita Paciotti provide the cantina parents with Ricardo Bustamonte the inn keeper where papa gets foiled into blessing the pair. Then there is Gamache, which Ruben Martin-Cintas is undertaking for the first time, with all his pastel furbelows and foppish behavior.

We have Carlos Quenedit as Basilio, the penniless barber, opposite Mathilde Froustey as Kitri. Both danced their respective roles before; Carlos with the Ballet Nacional de Cuba and with the Joffrey Ballet before joining San
Francisco Ballet and Froustey with the Paris Opera Ballet. Hard to imagine the Froustey delicacy in Giselle doing a volte face into Spanish spunk. Overall, she
managed it nicely the more she danced; her beginning was a bit tense; her overall portrayal reminded me of the cliche April in Paris rather than Seville in summer.

Quenedit electrified the audience, and deservedly so, in his opening variation; prodigious elevation, crispness and an insouciant command of his whipping tours. (I really don’t understand why international competitions don’t allow this pas de deux as part of their official assignments for prize aspirants.) That accomplished, the performance settled into its narrative and one really good time.

This mood was enhanced by the crispness of Kitri’s girl friends, Doris Andre and Noriko Matsuyama, matched for size and general ebullience. For the major toreador, Espada, and girl friend Mercedes, Daniel Deivison-Oliveira and Sarah Van Patten came on strongly, matching intensity, both posturing and smouldering with elan. Having remembered the taller interpreters, Pierre-Francois Vilanoba and Muriel Maffre, it was good to see another pair make a strong, well-matched impression.

Hansuke Yamamoto and Dana Genshaft dominated the gypsy segment, Yamamoto’s jumps compensating for his build, slighter than one expects for a gypsy. This gypsy scene also is more out of Romany than Granada, bandanas replacing combs and ruffles. The gypsy scene, of course, ends when Don Q attacks the lumbering turn of the windmill and falls into a injury-induced sleep. Here Sancho Panza’s concern assumed genuine pathos – Molat blending concern and fatalism.

For Don Q, however, it provides a vision of skillful, saccharine femininity with the ballet’s most classical passages, led by Sofiane Sylve’s formidable, very classical Queen and a nimble, delicate Cupid portrayed by Koto Ishihara. Never mind that Cupid mythologically is male; here it’s a fleet young female. Kitri has been transformed into Dulciana and Don attends her dancing in a manner worthy of the Prince’s vision in Sleeping Beauty. Who knows, this may have been Petipa’s first sketch of that hide and seek vision of 1890, just as La Bayadere predated Lac de Cygnes.

Then it’s on to the tavern operated by Ricardo Bustamonte , a table dance by Marcedes, and Daddy Caniparoli in hot pursuit with Gamache locating the hidden Kitri with an eloquent pointed finger, gloved of course. The would-be alliance is interrupted by suicide bent Basilio, laying down his cloak, plunging his long, wicked knife into his side, having, of course, clued Kitri into his deception, fondling her when she raises his head. Don Q to the rescue with the aid of his lengthy spear, separating Gamache from the scene and with height and metal-tipped spear inviting Papa to bless the dying union. Bien sur, surprise!

Intermission!

The Wedding Festivities comprise the entire final act, with the toreadors rushing in with their capes, their partners flouncing in with black bordered white gowns almost equal to the finale of flamenco performances and a bevy bridesmaids. The setting is the same as that of Act I; one wonders how the Inn Keeper and spouse can afford such an outlay.

Basilio and Kitri are both garbed in white, he with a fair share of gilt braid and she with a fairly elaborate bodice above the crisp classical tutu, both prepared to dance a pas de deux one has seen often enough to demand the dancers astonish us. [A balletomane attending international competitions is particularly prone to such views.] The inaugural adagio seems to provide the best passage to impress the audience, where Basilio spins her and when they face each other at a distance. Kitri’s balances should be strong and long enough to emphasize the Spanish Je ne sais quoi in allure. The male solo doesn’t do nearly enough for the man, and the female variation has to be distinguished by the use of the fan. Lorena Feijoo managed to employ it in the final menage, a feat I have yet to see equaled, and any fouettes that appear should not travel. Froustey’s balances were secure and Quenedit partnered and postured very well. I had hoped to see Feijoo and Vitor Luiz at the final matinee May 29 but a minor injury changed the casts.

Like Giselle and Romeo and Juliet yet to come, Don Quixote was programmed to help celebrate Helgi Tomasson’s three decades as San Francisco Ballet’s artistic director. All hail! For 2015-2016, let’s hope we see Don Q repeated. Not only is it a romp, it provides a healthy range of opportunity for the company’s dancers. Who can quibble with that?