Ballet Philippines’ closing providing for the season, “Wings,” took to hovering heights with its glowing manufacturing of “Swan Lake.”
Tchaikovsky’s tragic story of an enchanted princess-turned-swan, cuckolded by her prince who’s been seduced by a crafty enchantress in cahoots along with her evil grasp, has captivated generations.
From the turnout of the crowd on each weekends, the magic of this ballet stays lasting.
The ballet owes its recognition to the beautiful musical rating of Pyotr Ilych Tchakovsky, and the technically demanding, but lyrical choreography by Marius Petipa and Lev Ivanov for the unique manufacturing that was premiered by the Bolshoi Ballet on March four, 1877.
BP’s restaging is inside the 140th anniversary week of the Russian ballet’s premiere.
BP has redeemed itself with the “Swan Lake” restaging.
Last season was capped by the set-laden manufacturing of “Opera,” Gabby Barredo’s set up (fairly wonderful when seen as a walk-in gallery piece), labored in opposition to all precepts of choreography by overshadowing the dancers who had been actually swallowed up by the ginormous mechanically pushed set.
This season, the twin-bill of historic tales of “Simoun” and “Crisostomo Ibarra,” in addition to the pop-driven “Awitin Mo at Isasayaw Ko,” suffered from an absence of cohesive and compelling narrative strains.
“Firebird,” on the different hand, with its ready-made plot line and Igor Stravinsky’s rating, demanded extra from the re-worked choreography, which was overshadowed by the lushness of the costumes.
(Perhaps the spotlight of “Awitin” had been the cameo roles performed by BP alumni dancers Nonoy Froilan and Edna Vida, exhibiting their defiance of seniority and unfading stage presence and method.)
In “Swan Lake,” it was nearly as if the dancers mustered a collective urge to place their greatest pointes ahead. From the corps that will start and finish a variation in a unified breath (even when it resulted in a kneeling place coming from a pirouette), to the soloists of their respective divertissments, to the three pairs of leads who alternated, the pursuit for technical perfection was apparent at each flip.
The three pairs of alternating leads interpreted their roles distinctively, making it pleasantly compulsory to look at all three variations. Perhaps the youngest and latest couple had been Jemima Reyes and Victor Maguad, each recognized for his or her sturdy and energetic strategies.
As the Black Swan Odile on this manufacturing, Reyes didn’t disappoint in finishing the fouettes. Reyes and Maguad greater than made up for his or her diminutive physiques with their grand gestures.
There was smooth class in the rendition of multi-awarded visitor dancers, Candice Adea and Joseph Phillips of the Mariinsky Theatre.
A former principal dancer of Ballet Philippines, Adea’s coming house efficiency was long-awaited. She didn’t disappoint as the fragile and helpless Odette along with her clear method and pure magnificence.
Phillips, on the different hand was sturdy in his a number of pirouettes, ending in a clear fifth, in addition to in his easy leaps.
It wouldn’t be proper to say that the performances of Garry Corpuz and Denise Parungao got here as a shock. These two dancers have constantly raised the bar for themselves with every season, and with their debut as leads in “Swan Lake,” they cemented their value to headline future productions.
Corpuz has all the time lower a chic determine along with his top and Byzantine-like dusky seems. His power and stage presence as a lead dancer is clearly palpable, and in “Swan Lake” he gave vent to an actor’s streak. This was evident in his heartbreaking collapse after his character realized he had been deceived at the finish of Act III.
The few fumbles are forgivable in the mild of his over-all princely carriage and skills.
Parungao, it’s true, didn’t full the 36 fouettes and as a substitute substituted a sequence of chainees to fill in the remaining dance phrases. But what are a couple of missed fouettes in the mild of an general breathtaking efficiency and characterization? Or seeing her each sinew in settlement along with her feelings, delivering the message with nary a phrase?
Narrative ballets have this added demand that the story is conveyed via mime and performing. Parungao’s wordless statements got here throughout clear. Her shift from the love-struck, frail enchanted princess to the fierce and crafty Odile was so marked that she might have been two totally different dancers.
In each characterizations, Paruangao nuanced her character not simply with the prescribed little swan-like head shakes, however along with her complete being, whether or not via understanding glances, evil smirks, a full undulation of her physique wracked with disappointment and grief, or a full higher physique stretched out in deep longing. Hers was pure dancing at its tantalizing greatest.
The inclusion of two dancing Rothbarts performed by visitor Patrick John Rebullida (as the human Rothbart) and Lester Reguindin ( as the monster Rothbart) added stress to the story.
In many variations, Rothbart merely makes his threatening appearances and gestures however hardly dances. The position is normally assigned to retired firm members with imposing physiques who can handle to strike worry in swan’s hearts.
The dancing model of Rothbart allowed a extra graphic interplay amongst the three characters in the ballroom scene of Act III. (Eugene Obille and Danilo Dayo alternated in the roles, which sadly this writer didn’t catch.)
Standing ovation for PPO
Dancing and music are inseparable companions. There was clearly one thing totally different in the melodies arising from the pit, with the Philippine Philharmonic Orchestra, led by conductor Yoshikazu Fukumura. The colorations of Tchaikovsky’s rating, whether or not it was the tender pas de deux with the tear-jerking violin solo in Act II, or the bombastic Odile variation in Act III, the crescendos and diminuendos, allegros and adagios, impressed the dancers to emote accordingly, it appears.
During the nights the place the orchestra carried out, dance and music had been one, as indicated by the thundering applause and standing ovation for the orchestra and Fukumura in the finish.
All might have been good had been it not for an absence of discretion for the set and lightweight designs.
The prologue and Act I opened to what appeared like a entrance yard of a mere nobleman’s nation home with a country stone-blocked fence, besides that the rendition of stone registered as sand baggage. On stage left had been unadorned mid-century-like picket steps which appeared fairly steep and slender.
In Act II, the overpowering gigantic tropical-like evergreen leaves that adorned the proscenium shifting into stage correct, slowly and fortunately diminished right into a vanishing level, framing the lake and its scape that recalled a tropical island with its turquoise water and clean rock formations. (It might have been fairly, however not for a cold, enchanted Russian setting inhabited by a form-changing monster and his enchanted swan flock).
The palace interiors in Act III might have gotten away with its deconstructed Gothic arches, had they not been accented by large Baroque candelabras. (There is, in spite of everything, an artwork to eclecticism.)
The palace doorways and the again wall of the throne space had been adorned by what translated to simplistic kindergarten faculty drawings of swans.
It didn’t assist both that the inconsistent lighting design would, many occasions, usurp the temper as a substitute of improve it.
The try at realism by using video clips projected on the set must be studied additional. Some commented that the set improvements purposely veered away from the conventional setting of the ballet in an try and replace and modernize the piece.
Well and good, however maybe the higher choice can be to take a very radical flip as choreographers Mark Morris and Mathew Bourne have completed in re-vamping manufacturing designs and choreography from the classical to post trendy. The traditional then turns into a brand new creation, and if profitable, turns into a brand new traditional itself.
Froilan was generously supported by his former colleagues, together with spouse, Edna Vida, mentoring youthful generations of dancers. Ballet grasp Ramon Victoria, former principal dancer Rhea Dumdum Bautista, founding firm members Effie Nañas and Tina Santos Wahl (visiting from the US), Adam Sage and Verna Fajilan-Brazil—all contributed to the meticulous teaching. —CONTRIBUTED