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In with the new

"The Collective Agreement", "Crepuscular", "Concerto"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
November 9, 2022 

by Denise Sum
copyright © 2022 by Denise Sum

The National Ballet of Canada's 2022-2023 season opened with a mixed program ushering in the new. Toronto-born Hope Muir started her appointment as artistic director of the company in January 2022, marking a new era after Karen Kain's 16 year tenure in the role. This repertory program is the first Muir has put together for the NBoC. Muir has expressed a commitment to foster more diversity in the company and its programming, which could be seen here. It featured a new work created by Vanesa G.R. Montoya, principal dancer at Les Grands Ballets Canadiens de Montréal, which premiered in the summer of 2021 during the company's outdoor performances at the Harbourfront Centre. It also included Alonzo King's "The Collective Agreement", the NBoC's first acquisition from King and the first time this work has been performed in Canada. The program concluded with a revival of Sir Kenneth MacMillan's "Concerto", last performed by the company in 1990. 

Jurgita Dronina and Harrison James in "The Collective Agreement". Photo by Karolina Kuras. 

Woman Power

"Swan Lake"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
June 10, 2022 

by Denise Sum
copyright © 2022 by Denise Sum

Karen Kain’s “Swan Lake” has been a long time coming. Originally scheduled to premiere in June 2020, the new production was pushed back two years due to the pandemic. It marks the end of Kain’s long career as artistic director of the National Ballet of Canada, from 2005 to 2021. This “Swan Lake” is a collaborative effort. Kain is not a choreographer and while the production is directed and staged by her, she also relies on Associate Artistic Director Christopher Stowell and Choreographic Associate Robert Binet for choreography, which is listed in the program as “after Erik Bruhn, after Lev Ivanov and Marius Petipa”. Sometimes this version suffers from too many cooks in the kitchen and can feel a bit scattered. Nonetheless, it is truer to the heart of the love story and more dynamic than James Kudelka’s bleak and dreary version that the company has been performing since 1999. As such, it feels like a breath of fresh air and will be part of Kain’s legacy with the NBoC. 

Jurgita Dronina and Harrison James in "Swan Lake". Photo by Karolina Kuras. 

A golden classic

"The Sleeping Beauty"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
March 17, 2022 

by Denise Sum
copyright © 2022 by Denise Sum

Rudolf Nureyev's The Sleeping Beauty is a signature ballet for the National Ballet of Canada. A lavish production with challenging choreography for the whole company, it has been used to mark many special occasions. It opened the inaugural season at the company's current home, the Four Seasons Centre for the Performing Arts, in 2006. This ballet was also a highlight of the company's 60th anniversary.  The last time they performed The Sleeping Beauty in Toronto was in 2018, marking Marius Petipa's 200th birthday. This year, the production turns 50. The NBoC has come a long way since its premiere and Nureyev's production, a huge investment at the time, has paid off and then some. It continues to be a touchstone for company dancers. 

Harrison James and Heather Ogden in "The Sleeping Beauty". Photo by Teresa Wood.

 

Uplifted and Grounded

"Skyward", "After the Rain", "On Solid Ground", "Elite Syncopations"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
March 9, 2022

by Denise Sum
copyright © 2022 by Denise Sum

The National Ballet of Canada's winter season started with a farewell run of "A Streetcar Named Desire" for company veteran Sonia Rodriguez. The farewells continued with a mixed program to celebrate Jillian Vanstone's retirement after 22 years. The NBoC acquired Christopher Wheeldon's stunning "After the Rain" for the occasion -- an intimate and emotional choice. Vanstone paired it with Sir Kenneth MacMillan's jaunty "Elite Syncopations" where she could let loose and have fun, surrounded by an ensemble of many of her longtime colleagues. The quadruple bill also includes two new works by emerging talents, choreographic associate Alysa Pires and principal dancer Siphesihle November. 

Harrison James and Jillian Vanstone in "Elite Syncopations". Photo by Karolina Kuras. 

It's Only a Paper Moon

"A Streetcar Named Desire"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
March 2, 2022 

by Denise Sum
copyright © 2022 by Denise Sum

The National Ballet of Canada is back with full capacity performances at last. The pandemic delayed many retirements and planned farewell performances for dancers around the world. Thankfully, principal dancer Sonia Rodriguez was able to hold out and close a remarkable 32 years in the company with a run as Blanche DuBois in "A Streetcar Named Desire." It is the kind of meaty dramatic role that highlights a mature dancer's range. John Neumeier's production is a flawed one, but Rodriguez and the large supporting cast gave a committed and emotional performance. 

Sonia Rodriguez in "A Streetcar Named Desire". Photo by Johan Persson. 

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.