Revelations :Hong Kong Ballet's Season Finale

It has been months since Hong Kong Ballet closed their 2014 season. I delayed this post because of a personal promise I made to a friend. I contemplated not writing it altogether. However, the show was so potent that I couldn't set aside the imagery and the emotion that I took home that night at the theater. 

I have grown fond of Hong Kong Ballet's mixed bill productions because there is always something unique to be seen. It's never a replica or a substandard copy of a previous production. The point of view of every mixed bill production is always loud and clear. This particular mixed bill for me is special in a different way. I feel that on that stage, several artists shared pivotal moments in their lives. Shakespeare said it best when he said " All the world is a stage, and all the men and women merely players: they have their exits and their entrances; and one man in his time plays many parts, his acts being seven ages."  I know the quote was meant to describe the intricacies of universal life. However, it is ironically describes what the artists shared with the audience in that show. 

Let me explain. There were several revelations that night.  For one, I knew that Jurgita Dronina was to dance Paquita. What I didn't know was that she was to join the Company as the newest Guest Principal Dancer.  One of the reasons I flew to Hong Kong was to see her dance again. She made quite an impact a few years back when she performed in Ballet Manila's World Stars of Ballet Gala. I  had no idea that she was going to take on the role of Guest Principal Dancer. For the longest time, it had only been Yuan Yuan Tan who was the proclaimed Guest Principal Artist. She would occasionally  take part in at least one of the season productions. Upon seeing that title in the program and several mini articles about her in the internet, my mind started spinning. Was she going to visit Hong Kong more often now? Will Hong Kong Ballet be a second home to her? I was excited to say the least about the possibilities.  The season finale I  watched was her first show (to my recollection) with Hong Kong Ballet. She took on the role of the ballerina in Paquita. There were a few slips that happened that night but none big enough that could diminish the sparkling beauty of this lady. Her extensions were  picturesque. Her fouette tricks were impressive. Her elegance is comparable to that of Margot Fonteyn and Audrey Hepburn.Finally her energy was engaging. All that being said, she is a trophy addition to the Company. It was her first entrance  to Hong Kong's spotlight, one that was met with thunderous applause. To me it was a historical moment.  I can't wait to see more of her in the coming seasons. 

Photo: Kitmin Lee 

That is not all that took me by surprise that night. Another dancer was  at a turning point in her career and on that stage she made her final statement. I was able to follow Candice Adea's progression in Hong Kong Ballet. She has been a friend to me for years and I have always loved supporting her triumphs with the Company. Indeed she has been a pride and joy for the Filipino dance community. I saw her first production with the Company and was fortunate enough to see her last. You see, after  an illustrious  two year stint with the Company, she bids them goodbye to join Ballet Met.  I would have loved to see her end her affiliation with the Company with a more principal role. But I have to admit, she was a feisty charmer in Alexei Ratmansky's Carnivale. She exits with a  lasting impression.  She is one of the smallest dancers with the biggest movements  on stage. She took on the role of lead hen. In the mix of animals, her sprightliness and clarity of movement was too cute to forget. I'm sad to see her leave for a farther destination but I am excited to see her add another feather on her cap. Bon Voyage Candice Adea, until we meet again. 

Dancers: Candice Adea, Naomi Yuzawa, Yuri Moriwaki
Photo: Conrad Dy-Liacco

                                     

So you see so many personal stories marked by performances on stage. My favorite would have to be the biggest revelation of them all.  I have seen Hong Kong Ballet succeed  in dancing pieces by world renowned choreographers. In the same production, they succeeded in giving life to Alexei Ratmansky's entertaining Carnivale. However, seeing the world premier of "Bolero" left me at an unparalleled state of awe and admiration. Yuh  Egami  and Ricky Hu are both active dancers of the Company.  I had no idea that the the choreographers who would succeed in  creating a work that is distinctly perfect for the Company would be one of their own. "Bolero" is a a piece about  the ascent of depression of a modern woman. It aimed to humanize  how one could possibly lose your mind with the number of voices  you hear in your solitude. The theme was quite bold but the presentation of the concept even bolder. Principal dancer Liu Yu-Yao was found fragile inside  a white architectural set  framing her. Liu Yu-Yao put just the right amount of madness and lucidity in her portrayal.  The set  that initially caged her like a  mental institution  soon  evolved into a more personal space, a window, a door, a table, a chair  that featured the ballerina's  frame of thought.  The set had its own choreographed transitions that were so purposeful and effective in highlighting moments.  The characters representing the voices in her head  weaved in and out with the set as their playground. The piece was so intense not only because of the powerful dancers but because it was clearly a well thought of. The two choreographers were indeed  god storytellers. Not only do they have impeccable taste and a good grasp of dance vocabulary, they also have a commitment to innovation. Bolero just proved that Hong Kong Ballet now has double threat artists on their side. I do hope I get to see more of the duo's genius. 

Dancers: The Hong Kong Ballet Dancers
Photo: Kitmin Lee

Dancer: Liu Yu-yao
Photo: Kitmin Lee

Dancer: Liu Yu-yao, Shen Jie, Leung Chung Long
Photo: Conrad Dy-Liacco

The season finale was eventful with someone new arriving, someone old exiting, and two people's careers evolving. In summary, it was a closing that would make anyone excited about the new season. Bravo. 

For those who are interested, Check out the link of Bolero and Carnivale (With Candice Adea dancing in it)

https://www.youtube.com/watch?v=oaEP6R59zTk  (Bolero)

https://www.youtube.com/watch?v=Hva_ztzgSCU (Carnivale)

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.