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At Long Last

"Serenade", "Angels' Atlas"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
November 11, 2021

by Denise Sum
copyright © 2021 by Denise Sum

Having endured one of the longest lockdowns in the world, the pent up desire for connection and live performance in Toronto has been palpable. The National Ballet of Canada’s triumphant return to the stage after 20 months was cause for joyous celebration, an opening night like no other. The evening consisted of two great ensemble pieces: George Balanchine’s “Serenade” and Crystal Pite’s “Angels’ Atlas”. In lieu of an intermission, a 10 minute video interlude allowed the dancers just enough time for a quick change. The video was filmed during the pandemic for the NBoC’s virtual 2020-2021 season, featuring “Soul” by Toronto-based indigenous choreographer, Jera Wolfe. 

Star-Crossed

"Romeo and Juliet"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
March 11, 2020

by Denise Sum
copyright © 2020 by Denise Sum

Before Toronto (and much of the world) went on lockdown, the National Ballet of Canada gave a spirited performance of Alexei Ratmansky's "Romeo and Juliet". The original cast from the world premiere in 2011, Guillaume Côté and Elena Lobsanova, shone as the passionate yet doomed lovers. They were supported by a strong supporting ensemble, as well as by Ratmansky's evocative storytelling and energetic choreography. Two days after opening night, the remainder of the run was cancelled due to COVID-19. 

Elena Lobsanova and Guillaume Côté in "Romeo and Juliet". Photo by Bruce Zinger.

Angels and Mortals

"Chroma", "Marguerite and Armand", "Angels' Atlas"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
February 29, 2020

by Denise Sum
copyright © 2020 by Denise Sum

The National Ballet of Canada's winter mixed program was a strong one, highlighted by the world premiere of Crystal Pite's captivating "Angels' Atlas", her second ballet commissioned by the NBoC. She created the powerful "Emergence" for the company in 2009 and "Angels' Atlas" follows in a similar stylistic vein while still feeling fresh. This program also marks the retirement of veteran principal dancer Greta Hodgkinson after an impressive 30 years in the company. She chose Sir Frederick Ashton's dance drama "Marguerite and Armand" for her swan song. Rounding out the program was a revival of Wayne McGregor's crowd-pleasing "Chroma". 

Artists of the Ballet in "Angels' Atlas". Photo by Karolina Kuras.

Piano Pieces

"Etudes", "Piano Concerto #1", "Petite Mort"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
November 15, 2019

by Denise Sum
copyright © 2019 by Denise Sum

The National Ballet of Canada latest triple bill brought a balanced mix of pure classical ballet technique and more contem- porary movement. Between Harald Lander's "Etudes", Alexei Ratmansky's "Piano Concerto #1", and Jiří Kylián's "Petite Mort", the program played to the strengths of the company's corps de ballet and highlighted many principal dancers and soloists. Together, these works made for an exciting and fulfilling evening of dance. 

Artists of the Ballet in "Etudes". Photo by Karolina Kuras. 

 

Gods and Mortals

"Orpheus Alive", "Chaconne"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
November 15, 2019

by Denise Sum
copyright © 2019 by Denise Sum

The Greek myth of Orpheus and Eurydice has inspired countless creative works over the years. The National Ballet of Canada's choreographic associate, Robert Binet, is the latest dancemaker to interpret this classic love story with his ballet "Orpheus Alive". It is a sweeping, large-scale work with a cast of 45 dancers and a running time of 73 minutes. Rather than a literal re-telling of the myth, Binet modernizes the narrative, setting it in present-day Toronto (and the Underworld). The dark, tragic tale is simultaneously infused with witticisms and the repeated breaking of the fourth wall. Sometimes it works, but often it does not. The overall feel of this risk-taking work is half-baked. There are rich ideas and interesting dance sequences, but if not for the elaborate sets and special effects, "Orpheus Alive" feels more suited to a choreographic workshop or fringe festival. It does not (yet) have the cohesion or polish of a finished mainstage production. 

Jenna Savella and Spencer Hack in "Orpheus Alive". Photo by Karolina Kuras. 

Romance and Redemption

"Giselle"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
November 6, 2019

by Denise Sum
copyright © 2019 by Denise Sum

The National Ballet of Canada opened their 2019-2020 season with a respectful look to the past. "Giselle" is an iconic touchstone for any classical company. Sir Peter Wright's production keeps the story of love and forgiveness front and centre, told through unadorned movement and mime. Whether the narrative, involving a nobleman in disguise, forest spirits, and death by dancing, comes across as dated or timeless rests heavily on the shoulders of the leading dancers. On opening night, this romantic era masterpiece was artfully rendered by Svetlana Lunkina and Harrison James as the central couple, supported by strong soloists and corps de ballet. Lunkina and James were first paired as Giselle and Albrecht three years ago. With time, the depth and nuance of their interpretations have continued to flourish.  

Svetlana Lunkin and Harrison James in "Giselle". Photo by Aleksandar Antonijevic. 

A Sparking Send Off

"The Merry Widow"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
June 19, 2019

by Denise Sum
copyright © 2019 by Denise Sum

The National Ballet of Canada bid farewell to one of its most beloved principal dancers, Xiao Nan Yu, with Ronald Hynd's splashy ballet "The Merry Widow" set in fin de siècle Paris. It is a love story with humour, elegance and lively classical and character dancing -- a perfect showcase for Yu's artistic gifts. The whole company came together to celebrate in style. Yu spent the entire 22 years of her career at the NBoC and she is certainly dear to Toronto audience members who have watched her grow and flourish as a dancer.  

Xiao Nan Yu and Guillaume Côté in "The Merry Widow". Photo by Cylla von Tiedemann. 

Physical Thinking

"The Vertiginous Thrill of Exactitude", "Approximate Sonata", "The Second Detail"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
June 1, 2019

by Denise Sum
copyright © 2019 by Denise Sum

The National Ballet of Canada's latest triple bill was a whirlwind tour through William Forsythe's choreographic world. The program was short, clocking in at just over one hour of dance (excluding the intermission), yet dense with a variety of terpsichorean riches. The dancers really sunk their teeth into the three works, using them as opportunities to push the boundaries of movement and speed. The results were stirring and beautiful.  

Heather Ogden and Jack Bertinshaw with Artists of the Ballet in "The Second Detail". Photo by Michael Slobodian. 

The Next Generation

The 13th International Competition for The Erik Bruhn Prize
Four Seasons Centre for the Performing Arts
Toronto, Canada
March 23, 2019

by Denise Sum
Copyright © by Denise Sum 2019

The Erik Bruhn Prize is a unique competition, geared towards young dancers between the ages of 18 and 23 who are already dancing professionally. Established by Bruhn in his will to recognize emerging talent, participants come from companies with which he was affiliated during his distinguished career. Each company's artistic director selects one male and one female dancer to compete. Because of the small number of participants, the event feels more like a gala showcase. In 2009, a Choreographic Prize was added. Since then, each work in the contemporary round is a newly commissioned piece. Unlike the dancer age requirement, the choreographic competition does not stipulate specific criteria for who can participate, except that the choreographer must be affiliated with one of the participating companies. This thirteenth competition was hosted by principal dancer Harrison James. In both the classical and contemporary portions of the evening, the young dancers showed tremendous talent and range. 

Siphesihle November. Photo by Karolina Kuras. 

"How Puzzling All These Changes Are"

"Alice's Adventures in Wonderland" 
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
March 7, 2019

by Denise Sum
copyright © 2019 by Denise Sum

The National Ballet of Canada's winter season coincides with March break and as usual presents a crowd favourite meant to attract families and new audience members, "Alice's Adventures in Wonderland". Christopher Wheeldon's brilliant version, a co-production with The Royal Ballet, has been a hit since its premiere in 2011. While the plot twists and spectacular special effects are most impressive on its first viewing, it continues to provide reliable revenue for the company and the dancers seem to have a lot of fun with the whimsical choreography and theatrical elements. 

Jillian Vanstone with Artists of the Ballet in "Alice's Adventures in Wonderland". Photo by Bruce Zinger.

The Test of Time

"Apollo", "Night", "The Sea Above, The Sky Below", "Paquita"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada 
March 1, 2019 

by Denise Sum
copyright © 2019 by Denise Sum

The National Ballet of Canada's winter mixed program featured an pleasing blend of old and new works, from the grand classical showpiece "Paquita" to the company premiere of Julia Adam's "Night". Artistic Director Karen Kain has a knack for putting together a well-rounded mixed program that makes for a satisfying evening of dance, giving a wide range of dancers their own moment to shine. 

Brendan Saye in "Apollo". Photo by Karolina Kuras.