Daloy Dance Company: Moment

In the Photo :Krisbelle Mamangun & Pj Rebullida
Photo by: Erica Marquez Jacinto
Choreography: Sky Reconfigured 

And in one breath we met. 
Sharing space and time 
Wind knocked out of me, I felt you in my arms. 
I caught you mid air, but I felt you save me.

I heard your pulse quicken at my touch
Succumbing to the organic rhythm of life
I remembered my humanity
I felt free but I felt vulnerable

More than a hand I offered 
More than day I offered 
Lost time has taught me well 
Regret has made me certain

And with a single glance I quickly forgot my place
Transported to a past deeply buried in haste
Fearful but hopeful I stay for a moment
But tomorrow I know I will stay forever and a day 

This girl is on fire: Bolshoi Ballet's Flames of Paris

Graphic from Hong Kong Arts Festival 

Bolshoi Ballet has no choice but to bring their A-game  what with all the dramatics that is tagged to their famous name  in the news. A few years after the stench of politics and artistic differences still ring when the prestigious company is mentioned. All you need to do is google them and it will show  the stories that obviously  distract the audiences from remembering the glorious days of the Company. My balletomane self adores the Bolshoi Ballet. I've actually been antsy for awhile waiting to see them perform in the annual Hong Kong Arts festival.  I wanted to see if the dancing suffered from all the turmoil and negative press.  I guess they feed resilience to the dancers. The company is stronger than ever. I am a certified fan girl. 

Bolshoi Ballet presented Alexei Ratmansky's  version of "Flames of Paris"   This version is bigger than life itself. It was as if he read the big book of ballet and decided to throw in all the steps and combinations physically possible. Gloriously choreographed, it was scene after scene of technically difficult movements. Each portion was with glazed with risk and excitement. Take for instance one of the opening  pas de deux of the heroine Jean played by Ekaterina Krysanova and Philippe  by Vyacheslav Lopatin I stayed at the edge of my seat as I saw the danseur literally throw the ballerina in a series of at least  six major death defying lifts done consecutively. Krysanova was seen flipping on air, upside down, in overhead lift in a span of just three  minutes.  Three  danseurs did an impressive piece centered on jumps done in perfect canon. Towards the end of the ballet he had a parade of at least eight girls entering in an overhead lift to decorate his stage.  His choreography was almost kaleidoscopic. He never failed to add a couple more colors to the painting on stage. His use of the dancers' technical ability glorifies his dancers. Kudos to all the dancers for being able to execute  dances that not only require technique and flair but stamina. Appropriately  depicting the french revolution was a coup d' etat of  stardom and precision  on stage.  

Photo by Elena Fetisova 

Worthy of mention is  Principal dancer, Krysanova's portrayal of Jean. Her interpretation was organic and powerful. She was literally on fire, performing without a care in the world. It was refreshing to see a dancer perform devoid of any insecurity. Who needs youtube when you can see her doing her tricks at command. Let's see...... her tricks included speedy corner double pique turns. She also performed her flavorful fouettes, single double third is a double with a different  port de bras. In between the twirling she in triples at her convenience. Her character dancing in Dance of the Basque was believable and just filled with so much intensity. Every time she would enter, it was always with so much passion. I couldn't help but hear the song "This girl is on fire" every time. She sizzled and satisfied. 

Playing  Philippe was  Lead Soloist Vyacheslav Lopatin whose technique was clean. He was charming and likeable even relatable. He kept it simple with double and triple pirouettes but dazzled the audience with a magnificently done revoltade in the grand pas de deux.  Individually our leads were memorable and strong but together they lacked  chemistry. They were a good match technically but emotionally there wasn't much romance. It was more like a friendship that never blossomed. Google friendzone. 

In the ballet within the ballet "Rinaldo and Armida", lead soloist Kristina Kretova left me at awe. The choreography was designed to impress with solid classical technique. The audience love her skillful hops in attitude on pointe and clapped until she finished four revolutions. After this she finished her variation with yet a series of corner hops ending with a solid triple or even quadruple beats as if to say, it was nothing really.  In her coda, as required by the choreography, she performed two sets of manege  and ended gracefully swiftly  lifting her leg in a beautiful attitude. Her sophistication was a great contrast from Krysanova's rustic flavor. She committed to the character until the end, beautiful, elegant and rich. 

Her partner likewise delivered. Principal Artem Ovcharenko did not disappoint as his ballon and extensions were lovely to look at. Spagat is an understatement. He was every bit the Adonis as he played the role of the Actor. He partnered Kretova comfortably and in a silky manner. 

Practically all the characters delivered in terms of establishing their role and what they represent. Clearly, this adaptation was done with a lot of conscientious coaching. The differentation was clear. Jean was bold. Philippe was heroic. Adeline was lyrical and fragile. Rinaldo and Armida were luxurious. I must say this was supported by a committed corp de ballet and a gorgeous set of  long legged corophees. 

True, there were dull moments partnered with dull music but considering the drab topic of the revolution, I was impressed.   I  cannot deny that Bolshoi is still one of the strongest companies in the international dance world. Inside the theatre, all the politics is white noise. Only the sound of deafening applause can be heard. To me, Bolshoi is no longer laced in shame but draped with success.  

Nothing else to say but bravo. 

  

Reinvention: Ballet Manila 2.0

Reinvention is a word not welcomed by many. It's intimidating. It's beyond the borders of comfort, It's a risk. Many mistake it for dressing up a different way, cutting and coloring your hair or maybe even relocating to a different location. Tiptoeing to the edge of map need not be letting go of who you are as a person. Ballet Manila shows us how its done right with Ballet Manila 2.0

Precious Beginnings

The repertoire presented last March 1, 2015 reflects a tribute to the past  and a transition to their future.  Ballet Manila has always  been at the forefront in presenting and preserving classical ballet reportoire. It was but fitting that  began the program with Paquita.  Incidentally this was also  their  season closer on their very first season twenty years ago. Dawna Mangahas danced with an effervescent quality. She was beautifully statuesque  as the ballerina. Her lines were picture perfect and I couldn't resist clicking away with her every pose. She was ably partnered by Elpidio Magat. Magat  who  nailed his tours landing on arabesque consistently and with ease.  The corp de ballet articulated the classical symmetry  required of the ballet. Classical ballet when done right is like a beautiful sunset that warms your heart. It stays with you after days. 

I saw Osias Barosso's Etudes twenty Years ago when my own friends who of course were kids then were the featured dancers. It was a mighty strong throwback that got me a bit emotional. It's a just precious when you see works that have evolved and developed through time. Definitely, Etudes reflects a journey of hard work and commitment. 

A brand new flavor 

 
There was a time that I did not appreciate the modern ballet repertoire of Ballet Manila. Twenty years after, It seems the hunger to explore new territory has now put Ballet Manila as a double treat in the dance industry.  I saw a different level of maturity as they performed "Bloom" choreographed by Belgian-Columbian choreographer Annabelle Lopez Ochoa.  A different company danced with confident synchronism. Pardon my language when I say  the unison portions of the men  were fiercely "bad-ass" good. The performance however glorified the women a tad bit more. Bloom speaks of  beholding beauty and gratitude. The piece ever so gracefully like a flower opened up and revealed its   rising stars with commanding allure. Undoubtedly, my new favorite in the Company is Abigail Olivieros who  kept the audience captivated with her every move dripping with emotion. Blessed with a good body to work on she executed her extensions almost lovingly with her partner Brian Williamson. New to the company, Williamson seems to be a good fit so far showing dynamics in the way he moves. With  talent and a greatly intense dance vocabulary, Bloom was just a plain and simple success. It's  a taste of Ballet Manila's brand new flavor out to entice new markets and audiences. 

Staying close to home

Tara let's  choreographed by Gerardo Francisco was a crowd favorite. I think it always has been since it premiered. Music is hip and happy, choreography energetic and story telling relatable. Though I did appreciate the fact that they chose to include in their repertoire a Filipino choreography.  I did think it was quite out of place. Ballet Manila has  numerous pieces that showcases how the Company have in the past  supported  Philippine talent.  The pompous half of me just thinks I know better and that they should have performed more epic (and to a point nationalistic)  pieces from the likes of Agnes Locsin, Tony Fabella or Bam Damian. 

I do understand though that this is a representation of how how they make the art form relatable to many.

Alumni Connection 

The star of the show was definitely the flawless performance of Christine Rocas from Joffrey Ballet. I grew up seeing Rocas dance with Ballet Manila and it is quite touching to see her perform with such maturity  on that stage. No longer a pretty girl, she has grown into a sophisticated woman whose eloquence is painted with her every movement. She dances with such sincerity that it's hard not to be moved by her. She is both fluid yet strong at the same time.  Her feet melt on the ground  as she makes a step towards Rory Hohenstein, her Romeo for the evening.She leaps in an elegant grand jete and you hear a slight gasp in the audience. It's not because of it was a simply a split but because she performs with such quality that it feels like a breeze just passed by. 

I've never seen Christopher Wheeldon's piece performed live and was always a little baffled when people  go nuts over it in the internet. But done perfectly, I felt Wheeldon's choreography. I didn't just watch it. It felt like the whole world stopped  and that the performance was for me. It was a piece that spoke volumes in its simplicity. I couldn't help but tear up as the  piece progressed. It just dug deeper and deeper. Hohenstein and Rocas were drawn together by the music. The contact between the two of them was palpable. Seamless. Mind blown.

In a nutshell

In a nutshell, Ballet Manila is fired up with renewed passion. If this show was meant to send a message to the audience and the industry , I think they were absolutely successful. Ballet Manila's refreshing new command of modern ballet is impressive and they can only get better through time. Perhaps a slight quiver of panic is now felt by its contemporaries in the business. Ballet Manila's reinvention is one that will take them to higher heights. I approve of the yin yang of contemporary and classics. Bravo Ballet Manila for a meticulously prepared Ballet Manila 2.0. Cheers to risks meant to be taken.

March 1, 2015

Ballet Manila 2.0 

Aliw Theatre

All photography by me:) Erica Marquez Jacinto