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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. 

Reality and Illusions

"The Dream" and "Being and Nothingness"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
November 10, 2018

by Denise Sum
copyright © 2018 by Denise Sum

The National Ballet of Canada's fall mixed program featured two contrasting and compli- mentary one act works. First was a revival of Sir Frederick Ashton's "The Dream", arguably one of the most successful dance adaptations of Shakespeare's work. This provided a wonderful chance to see a new generation of dancers in this timeless piece. Next was principal dancer and choreographic associate Guillaume Côté's "Being and Nothingness", a meditation on Jean-Paul Sartre's philosophical treatise of the same name. Fresh off from recent performances on tour in Russia, the plotless ballet was in fine form. Originally created as a solo for Greta Hodgkinson, it later expanded into a 40-minute chamber work. Hodgkinson's expressiveness and artistry remain the highlight of this ballet. 

Photo: Jillian Vanstone and Harrison James in "The Dream". Photo by Aleksandar Antonijevic. 

Too Much

"Anna Karenina"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
November 10, 2018

by Denise Sum
copyright © 2018 by Denise Sum

The National Ballet of Canada has taken a liking to John Neumeier's full-length dance dramas over the past decade with performances of "The Seagull", "Nijinsky", and "A Streetcar Named Desire". His latest work to enter the repertoire, "Anna Karenina", is a new commission and a joint effort between the NBoC, Hamburg Ballet, and Bolshoi Ballet. Leo Tolstoy's epic story needs no introduction. However, audiences should not expect a literal translation of the famous tragedy set in imperial Russia. Rather, Neumeier places "Anna Karenina" in a contemporary setting while preserving the original characters, events and themes. The production is theatrical and determined, but ultimately uneven, confusing and needlessly long. 

Photo: Harrison James and Svetlana Lunkina in "Anna Karenina". Photo by Kiran West.