The Moscow Ballet La Classique arrived with much drama . Their touchdown in Manila was not only welcomed with unexpected rough rains, it was also drenched with controversy that even they might not be aware of. In 2018, Royal Chimes Concerts and Events Inc announced that they were bringing " The Russian Classical Ballet" to the Philippines to dance the ultimate white ballet, Swan Lake. Bolshoi Stars Nina Kapstova and Alexander Volchkov were the promoted guest performers for this event. The ballet community responded excitedly buying tickets months before their arrival. However, the show that was supposed to be staged at the CCP from February 27- March 11, 2018 was cancelled out of the blue leaving ticket buyers confused and unsure if they will be able to recover. To everyone's delight another announcement was made a few months after. Royal Chimes announced that they were bringing the Moscow Ballet La Classique to Manila with the same Bolshoi Ballet Stars. The performance was going to be housed in the New Frontier Theatre instead of the CCP . The substitutions were not highlighted, what was important was that Manila could witness highly revered Bolshoi ballet stars perform with the expected Russian trademark of excellence. The event was completely anchored on the popularity of Kapstova and Volchov. Considering the price of the tickets, it was a bit unnerving for me knowing that the ballet community here in the Philippines may not fill up all the seats of the 12 shows that were scheduled. Four days before the show, the organizers announced through their media channels that Nina Kapstova would be unable to perform due to an injury. She was going to be replaced with her Bolshoi colleague soloist Anastasia Goryacheva. On the day itself however ( June 14, 2019) , Goryacheva was nowhere to be found. Instead facing the media was Oksana Bondareva, Principal dancer from competitor Mariinsky Ballet. The switch was not announced nor explained. An hour before the show, a tearful announcement was made to Manila's elite crowd that the performance was cancelled due to an undisclosed dispute between the producers, the venue and the Russian troupe. Celebrities in their fabulous outfits left the red carpet without having seen any ballet. Politicians who came from faraway towns were left aghast. However after an hour and a half , the organizers announced that the show will go on at a later time. VIPs and ticket buyers were lured back to the theatre. At nine thirty in the evening, the curtains rose to reveal the full length ballet to a grumbling audience who had no idea that neither Nina Kapstova nor Anastasia Goryacheva were performing the lead role. ( I was told that the succeeding performance had ticket issues as well resulting to delays in some performances: secondhand information)
With that as the backstory, it was imperative that Moscow Classical Ballet La Classique and its front-liner stars deliver a perfect evening of music and dance. Swan Lake is a demanding ballet requiring heavy maturity in artistry and technique. It is almost a hit or miss ballet. Thankfully, there were priceless moments to tide them over. To begin with Oksana Bondareva who took on the dual role of Odette (white swan) and Odile (black swan) had the star quality to convert any audience into fans. She masterfully silenced an agitated and hungry crowd with her dreamlike first entrance on stage. For almost three hours she kept the audience satisfied to the point where the disappointed Bolshoi Ballet fanatics started saying " Nina who?!" . By the end of the evening, no one was talking about pre-show drama and everyone was talking about the exquisite Bondareva. She quickly established herself as an international star. She was worth the wait.
The Alternate
Bondareva performed a sublime depiction of the white swan. She reminded me of Russian Prima Ballerina Yulia Makhalina's Odette who happens to be one of my favorite dancers. They both have glistening eyes that tell a story. Just like Makhalina, she is capable of moving people with the fullness of her storytelling. In both her emotions and in her movement she was delicate but every bit a composed queen. She slithered into her extensions with an ethereal quality. Her extended attitudes were wonderfully held with her chest opening up to the rays of light and her long arms reaching to the back like magical wings. She was emotional but responded to the story with restraint reserved for royalty.
In contrast her black swan was savage She was powerfully seductive. Her movements were solid often punctuated by sweet scheming smiles. Her dependable technique allowed her to intensify her characterization. She looked ever so comfortable doing ans assortment of extended balances, triple pirouettes and lame duck turns. Her grand pas de deux fouettes were dazzling. She did a series of double turns all the way with a at most four single turns. After which she confidently finished her series with a satisfied look on her face. In the succeeding shows she even shocked audiences by replacing the standard fouettes with ala second turns and fancy arms . Indeed Bondareva is a feverishly exciting dancer.
It is quite difficult to excel equally in both the white and the black swan but she succeeded in doing so. She conquered the dual roles with precise characterization and sterling technique.
The Prince
Alexander Volchov was compliant. He was indeed the promised physically blessed prince from Bolshoi Ballet. He performed all his steps without hitches. He delivered the standard multiple turns and he partnered ably. However he was a bit lackluster beside the emotional Bondareva. His performance was too relaxed for my taste.
Moscow Ballet La Classique
The corp de ballet's synchronicity was a soothing sight. The geometric patterns were cleanly executed with the fragility required of swan. This reflects the maturity of the group. It clearly shows their understanding of the ensemble's massive role in a ballet such as this. Underwhelming was the signature piece of the little swans, lacking energy and precision in their head movements. The big swan piece which is usually under loved in this ballet was poetically beautiful. Tanusha Serganova stood out in this piece with her beautifully extended lines. Serganova also marked her performance in Act 3 where she displayed deep luxurious back-bends in her Spanish character dance. The performance of Serey Kotov as the jester was also noteworthy. Kotov impressed the crowd with his picture ready suspended leaps and charismatic portrayal. As a whole the Company's re-staging was very meticulously done and with deep understanding of the ballet. Even Act 4 which is usually understated in most versions was a sensitive retelling of victory.
Russian Symphonic Orchestra
It was my first time to hear a Russian orchestra accompany a ballet and I was beyond impressed. The Russian Symphonic Orchestra' sound was magnificent despite the sound being out in the open without the comfort of an orchestra pit. Speed and quality were appropriate and the notes filled the theater with pulse-quickening sound. Their sound alone was a stand alone show in itself.
Unsettling
The one thing that was unsettling to me in this production was its sets. The sets were visually pleasing with its grandiose articulation of the lakeside and the palace. However in the last act (at the lake) the palace backdrop remained. Truly it was baffling and bothersome. How and why would all the swans flutter around the palace ?
Moscow Ballet La Classique's reality was so different from what the audience expected. But this time around, it all worked out in the end. Despite the drama, this production was a good representation of Russian talent in music and dance. This is a strong troupe that was entirely focused on the art and nothing but. All the surrounding drama did not affect their performance. This was a victory for the art of dance. It was indeed an enriching experience to see such talent in Manila. While the producers I'm sure took a lot of beating, I'm thankful that they were able to give this gift to the Manila dance community. Shows like this open up people to what is out there beyond our borders. International caliber performances inspire growth and for that purpose alone, the organizers did well. I look forward to more adventurous pursuits of world class ballet.
