“Jewels”
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
June 15, 2024
by Denise Sum
copyright © 2024 by Denise Sum
It has been 18 years since the National Ballet of Canada performed George Balanchine’s “Jewels”, considered the first abstract three act ballet, in its entirety (they performed “Rubies” as part of a triple bill in 2016). As such, this run introduced a new generation of dancers to this popular work. This run features many exciting (and some less successful) debuts. Indeed, of the ballet’s 9 leading roles, 8 were debuts on opening night. With its varied and complimentary moods and styles, “Jewels” is one of the most satisfying and complete ballet going experiences.
Donald Thom and Tina Pereira in "Emeralds" from "Jewels". Photo by Karolina Kuras.
Often overshadowed by the brash and bold “Rubies” or regal and majestic “Diamonds”, “Emeralds” is known for its understated elegance. It whispers rather than shouts. In this performance, the lush and romantic opening act was actually the most affecting and had the strongest cast. As the leading couple, Svetlana Lunkina and Spencer Hack were responsible for much of the success of “Emeralds”. Lunkina embodied grace and lyricism with a touch of mystery in the Violette Verdy role. She invites you into her inner world. Like a unique and subtle perfume washing over you, Lunkina’s dancing is intoxicating. While the steps are not showy, she highlights the intricacies behind them by playing with the musicality, as if slowing and speeding up time at will. Her balance is incredible, allowing for long holds on one leg and beautiful suspension with the series of développés moving forward in the first variation, silk tulle tutu swooshing a millisecond later. Deep, luxurious back bends and soft, wafting arms ensured every movement felt sweeping and inevitable. Hack was well-matched with Lunkina, taking a similar approach and bringing out the dynamics in Gabriel Fauré’s evocative music. His jumps have great height and silent landings, while his turns are crisp and centred.
In the Mimi Paul role, a 5 months pregnant Tina Pereira radiated poise and calm. She took her time and glided seamlessly between movements, supported by steady partnering from Donald Thom. Her phrasing was silky smooth, contrasting nicely with sharp limb movements ticking like hands of a clock in the pas de deux. In the pas de trois, soloists Miyoko Koyasu and Hannah Galway (with Kota Sato) both did a fine job, individually. Both of their variations were strong, however when side by side, their movement styles were quite different. The corps de ballet were more unified, weaving in and out of formations like links on a delicate chain. In “Rubies”, corps de ballet dancer Monika Haczkiewicz made a striking impression as the confident “tall girl”. A promotion should not be too far off. She started off just a bit too pretty and upright, but as the performance progressed, one could see her get more comfortable in Balanchine’s vocabulary. With gorgeous extensions and high arches, her lines are luxurious – especially in the section where the four men contort her limbs in every direction. She took risks with her placement and weight changes, and it paid off. She tossed off a triple pirouette with seemingly no preparation and her soaring grand jetés ate up space.
Unfortunately, the leading couple, Koto Ishihara and Siphesihle November, were poorly matched. He is simply too short for her. En pointe, she towers over him like the Siren in “Prodigal Son”. Individually, both are strong dancers, well suited to the jazzy and playful style. Ishihara had great speed and attack, pausing ever so briefly for those picture moments. She flirted with the audience more than she flirted with her partner. With his power and athleticism, November would do well in anything from Edward Villela’s repertoire. Predictably, he brought an infectious excitement and energy to “Rubies”. A consummate performer, he communicates so much joy in his dancing, whether swinging his arms like a runner or swivelling his hips mid-air in an assemblé. Pianist Zhenya Vitort also deserves recognition for her lively playing of Igor Stravinsky’s Capriccio for Piano and Orchestra.
"Diamonds" featured Heather Ogden, the veteran performer of the evening. Having worked closely with Suzanne Farrell over the years, this is a special role for her. Her level of experience really shows here, as she led the ensemble through the entire piece like a gracious queen. While the movement style of "Diamonds" is noble and formal, she also managed to bring a sense of freedom and abandon to her performance. The pas de deux of Ogden with Ben Rudisin was the stuff ballet dreams are made of, all controlled développés and deep leans back. The pas de deux builds in a steady crescendo, from the stately walks in the beginning to the dramatic promenades at the end, perfectly embodying the rises and falls of Pyotr Ilyich Tchaikovsky's third symphony. While a strong partner, Rudisin was having an off night and struggled throughout his variation, falling out of a jump in the manège resulting in a two footed landing and falling off his relevé in the pirouettes à la seconde. He recovered well, but these were uncharacteristic mistakes for him. The corps de ballet were "on" though, giving a clean and inspired performance.
Photos:
Monika Haczkiewicz and Artists of the Ballet in "Rubies" from "Jewels". Photo by Karolina Kuras.
Ben Rudisin and Heather Ogden in "Diamonds" from "Jewels". Photo by Karolina Kuras.