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Such sweet sorrow

Adieu: A Celebration of Guillaume Côté
“Bolero”, “Reverence”, “King’s Fall”, “Grand Mirage”
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
May 30, 2025

by Denise Sum
copyright © 2025 by Denise Sum

Guillaume Côté has been a household name in Canadian ballet almost since the start of his career at The National Ballet of Canada 26 years ago. Chosen for prime principal roles early on, his range and depth as a dancer lived up to and surpassed the promise of those early days. He raised the profile of the NBoC and guested internationally with the likes of American Ballet Theatre and La Scala Theatre Ballet. Originally from Lac-Saint-Jean, a small town in Quebec, he graduated from Canada’s National Ballet School and stayed at the NBoC for his entire career. He is also somewhat of a renaissance man, versed not just in dance performance but also in choreography and music composition. He was one of the first choreographic associates of the NBoC and also is the director of Festival des Arts de Saint-Sauveur. Most recently, he founded his own company, Côté Danse, which will soon tour Canada, the United States and Germany. His story is the stuff of Canadian ballet legends. 

Guillaume Côté in "Grand Mirage". Photo by Karolina Kuras. 

Sisterhood

“Swan Lake”
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
March 8, 2025

by Denise Sum
copyright © 2025 by Denise Sum

“Swan Lake” is a measuring stick for any classical company, yet it is surprisingly difficult to find a definitive production without significant flaws. In the years since its 1877 Moscow premiere, different choreographers have changed the setting, cut and added variations and condensed it. It has been done with an all male cast, with and without a jester, with different guises of Rothbart and with both tragic and happy endings. The National Ballet of Canada has gone through multiple wildly different versions from Erik Bruhn’s 1967 production to James Kudelka’s 1999 interpretation to the current production directed and staged by Karen Kain (with choreography credited to Karen Kain, Christopher Stowell, Robert Binet after Erik Bruhn, Lev Ivanov and Marius Petipa). Kain’s “Swan Lake” was to be unveiled in 2020 but the premiere was delayed multiple times due to the pandemic before it finally opened in 2022. This is the first time since then that the NBoC is revisiting this seminal work. The run was completely sold out well in advance of its opening, which shows the power and appeal of “Swan Lake” in the imagination of the general public. 

Genevieve Penn Nabity and Ben Rudisin in “Swan Lake”. Photo by Karolina Kuras.

Signature Style

“The Four Seasons”, “Morpheus’ Dream”, “The Leaves are Fading”
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
Feb. 26, 2025

by Denise Sum
copyright © 2025 by Denise Sum

The National Ballet of Canada’s diverse winter triple bill featured works from two British and one German choreographer that showcased a range of styles and movement vocabularies. The feature of the night was David Dawson’s colorful and modern “The Four Seasons”. Following opening night, the company announced that he will be appointed resident choreographer, marking the beginning of a close partnership between Dawson and the NBoC. The company has not had a resident choreographer since James Kudelka took on that role in 2007. The program also celebrated the 50th anniversary of Antony Tudor’s “The Leaves are Fading”. The romantic and poetic ballet was long overdue for a revisit after being absent from the repertoire since 1995. Lastly, Marco Goecke’s “Morpheus’ Dream” is a dynamic pas de deux that packs a punch in just ten minutes. 

Calley Skalnik and Spencer Hack in The Four Seasons. Photo by Karolina Kuras.

The Power of Love

“Giselle”
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
Nov. 20, 2024

by Denise Sum
copyright © 2024 by Denise Sum

The story of “Giselle” hasn’t changed since its premiere in 1841. Today, “Giselle” is all about the performances. There is a reason this romantic era ballet has endured as long as it has. No other work so perfectly embodies romantic values – idealism, emotion, the supernatural and the irrational. The National Ballet of Canada has been performing Sir Peter Wright’s version since 1970. As the saying goes, if it ain’t broke… 

Svetlana Lunkina with Artists of the Ballet in "Giselle". Photo by Aleksandar Antonijevic.

Bodies in Motion

"Body of Work", "Rhapsody", "Silent Screen"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
Nov. 9, 2024

by Denise Sum
copyright © 2024 by Denise Sum

The National Ballet of Canada returned home looking energized after touring in London and Paris last month. They opened their Toronto season with a mixed program designed to attract classical and contemporary ballet fans alike. No classicist could resist Sir Frederick Ashton’s “Rhapsody”, a dazzling exemplar of bravura technique. Created for the legendary Mikhail Baryshnikov, it remains one of the most stunning (and challenging) ballets in any company’s repertoire. “Rhapsody” was paired with “Silent Screen”, the first work from prolific choreographic duo Sol León and Paul Lightfoot acquired by the NBoC. “Silent Screen” marries film and dance, blurring the lines between them and showcasing León and Lightfoot’s unique contemporary style. Rounding out the program was a solo choreographed and performed by principal dancer Guillaume Côté, “Body of Work”, as part of his farewell season (he will retire in June 2025 at the end of the 2024-2025 season). 

Guillaume Côté in "Body of Work". Photo by Bruce Zinger. 

All That Glitters

“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. 

A Star is Born

“Don Quixote”
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
June 1, 2024

by Denise Sum
copyright © 2024 by Denise Sum

The beloved classic “Don Quixote” has not been seen in Toronto since 2011. At that time, it was the Petipa/Gorsky/Beriozoff version, which was fun but perhaps in need of a refresh. Prior to that, in 2007, the company performed the George Balanchine one act version, which is a different work entirely as it is centred more on the title character and his relationship to his ideal woman or Dulcinea. In securing Carlos Acosta’s production (created in 2022 for Birmingham Royal Ballet), the National Ballet of Canada has the privilege of being the first North American company to perform this updated version – a dazzling showpiece with the ability to capture the interest of balletomanes and new audience members alike. This ballet felt similar to Rudolf Nureyev’s “Sleeping Beauty” which he brought to the NBoC in 1972 – the company was galvanized by the presence of an international star whose production provided a vessel within which the dancers could really grow. In watching the opening night performance of Acosta’s “Don Quixote”, one could really feel the excitement of the dancers collaborating with such a renowned artist. 

Genevieve Penn Nabity with Artists of the Ballet in "Don Quixote". Photo by Karolina Kuras. 

A Trifecta of Premieres

"UtopiVerse", "islands", "Suite en Blanc"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
March 20, 2024

by Denise Sum
copyright © 2024 by Denise Sum

The National Ballet of Canada’s winter triple bill featured three exciting premieres: a world premiere, a North American premiere and a Canadian premiere. Two of the ballets, “UtopiVerse” and "islands”, were in a contemporary style. In contrast, Serge Lifar’s 1943 showpiece “Suite en Blanc” provided the tutus, pointe shoes and classical bravura that many expect from a NBoC performance. 

Emma Ouellet and Heather Ogden in "islands". Photo by Karolina Kuras. 

Dancing in Wonderland

“Alice’s Adventures in Wonderland”
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
March 6, 2024

by Denise Sum
copyright © 2024 by Denise Sum

Exactly five years after its last run, Christopher Wheeldon’s hugely successful and family friendly “Alice’s Adventures in Wonderland” was brought back to the Toronto stage, scheduled to coincide with March break. The strategy paid off as the run was completely sold out – something that does not generally happen unless the ballet starts with “Swan” and ends with “Lake”. Thirteen years after its world premiere in London by The Royal Ballet, this full length work remains as striking, comical and playful as ever. It still feels very much like a ballet for contemporary sensibilities. “Alice’s Adventures in Wonderland” blends clever wit and impressive special effects while maintaining a fast pace to cater to short attention spans. It is not surprising that it is now performed around the world, most recently by the Australian Ballet and the Bavarian State Ballet. 

Artists of the Ballet in "Alice's Adventures in Wonderland". Photo by Karolina Kuras. 

Tables are Turned

“Onegin”
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
November 22, 2023  

by Denise Sum
copyright © 2023 by Denise Sum

John Cranko’s “Onegin” is a touchstone for the National Ballet of Canada, performed consistently since its company premiere in 1984. It is a well-rounded production with Pushkin’s engaging storytelling, Cranko's interesting and challenging choreography and an evocative arrangement of musical works by Tchaikovsky. It has all the elements for a timeless full length ballet that is both accessible to the casual ballet goer and rewarding for the balletomane. The NBoC last performed “Onegin” in 2016, so it was due to be brought back to the stage, this time with some exciting debuts. 

Jurgita Dronina and Guillaume Côté in "Onegin". Photo by Karolina Kuras. 

An anti-heroine

“Emma Bovary”, “Passion”
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
November 15, 2023  

by Denise Sum
copyright © 2023 by Denise Sum

The National Ballet of Canada’s 2023-2024 season opener featured two distinctly different, yet complimentary works. First was James Kudelka’s “Passion”, a plotless ballet that nonetheless depicts different types of relationships and romantic love. Second was the world premiere of “Emma Bovary” - a modern take on Gustave Flaubert’s seminal 1856 novel “Madame Bovary” choreographed by Helen Pickett. Both ballets contrast the formality and rigidity of culturally sanctioned relationships versus the exhilarating freedom (and risks) of relationships that fall outside those norms. 

Artists of the Ballet in "Emma Bovary". Photo by Karolina Kuras.