“The Sleeping Beauty”
National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
November 14, 2009
by Denise Sum
copyright 2009 by Denise Sum
1972 was a pivotal year for the National Ballet of Canada. Rudolf Nureyev brought a production of “The Sleeping Beauty” so ambitious that all artists involved were pushed to realize their own potential. This opulent production, a great financial gamble at the time, brought the NBoC international recognition. Today, in Karen Kain’s staging, “The Sleeping Beauty” continues to be a signature piece and an ideal venue for talented dancers of all ranks.
Nureyev’s “Sleeping Beauty” is a ballet of excess based on the principle of more is more -- more steps, more wigs, more sets. For the most part, it works. However, the huge feathered headdresses seem cumbersome to dance in and make the fairies look more like birds. The break-neck speed of the dense choreography also had the corps de ballet looking flustered at times. The concentration on their faces was evident, constantly thinking of the steps ahead. Clutter aside, the essential elements of good storytelling are there: clear mime, a logical sequence of events, and distinctive characters.
The prologue is a feast of classical dancing from start to finish. Nureyev has the fairies enter lifted aloft diagonally across the stage by their cavaliers. Elena Lobsanova danced the first variation and stood out with her gracious disposition and the luxuriant quality of her movement. In the third variation, Jillian Vanstone was also memorable with her featherlight hops en pointe. Heather Ogden danced the principal fairy. In Nureyev’s version, the Lilac Fairy is a character role and the variation usually associated with her is danced by a principal fairy in blue. Ogden brought an unhurried grace to the variation and her fouettés in the finale were simply spectacular. The calm was broken by a deliciously wicked Carabosse (Victoria Bertram), her powers only matched by Stephanie Hutchison’s regal Lilac Fairy, who glided seamlessly along the stage. The non-dancing Lilac Fairy makes for a more analogous visual comparison between her and Carabosse, as they are both dressed in long, sweeping gowns.
As Princess Aurura, Sonia Rodriguez was brilliant. This performance was particularly special as Rodriguez is celebrating 20 years with the NBoC this season, and Aurora was her first principal role. She made a radiant entrance and proceeded with an impressive rose adagio. She was firmly on her leg from the start, enabling her to believably engage with her suitors. The infamous balances were steady, building towards an ecstatic finish. The only problem was a distracting mannerism that Rodriguez seems to have recently adopted, in which she snaps her mouth open and shut at the end of each phrase as if she is biting the air. Previously, Tanya Howard was the only dancer in whom I noticed this habit. However, in this performance both Rodriguez and Chelsy Meiss (who danced the 5th fairy variation) were prone to it. I hope this is not a trend among the dancers as it is rather unflattering. Of her suitors, the young Noah Long created his own character, jumping the queue when first meeting Aurora and exchanging intimidating glances with other suitors during the rose adagio.
Act II belonged to Zdenek Konvalina who has grown considerably since his NBoC debut in this role opposite Chan Hon Goh in 2006. Nureyev inserted a painfully long variation for the prince, crammed with difficult turns and jumps, occasionally at odds with the music. I had never enjoyed watching it until Konvalina demonstrated what it could be. He made the steps into poetry, one flowing phrase. He did this by judiciously emphasizing some movements and softening others to create nuances, rather than trying to do every step full out.
Act III begins with a solemn Sarabande elegantly led by Rex Harrington’s King Florestan. The highlight of Act III, though, was Naoya Ebe’s debut in the Bluebird pas de deux opposite Vanstone. The pas de deux was everything it should be: bright, uplifting, and exciting. Ebe hovered in the air for extended periods of time and showed astonishing precision in his batterie. Vanstone was a delight, her strong technique allowing for total freedom of movement.
The wedding pas de deux provided a fitting close, signifying the restoration of order and triumph of virtue. Rodriguez and Konvalina are well matched, approximately equal in height when she is en pointe, and stylistically in sync. They have a good rapport and the trust necessary for daring fish dives -- on the last one, Rodriguez’s cheek was mere centimeters from the floor! Again, Konvalina excelled in his variation. Konvalina can do everything. He turns to the left and right with equal aplomb and his soaring jumps end with silent landings. It is refreshing to see proper fifth positions between each and every step.
“The Sleeping Beauty” continues to assess the NBoC’s classical aptitude, which is very important but not always a given for a troupe that calls itself a ballet company. Based on this performance, the company is in fine form, proudly respecting its classical roots.
Photo: Sonia Rodriguez in “The Sleeping Beauty” (The National Ballet of Canada) by Sian Richards.
