Carlos Acosta: A Classical Farewell

Date: June 30 & July 2, 2016
Location: Hong Kong Cultural Centre, Hong Kong.

Petipa – Swan Lake White Swan Pas de deux
Bournonville – La Sylphide Act 2 Pas de deux
MacMillan – Winter Dreams Pas de deux
Fokine – Dying Swan
Vaganova – Diana & Actaeon Pas de deux
Stevenson – End of Time
Mollajolli – A Buenos Aires
Van Cauwenbergh – Je ne regrette rien
Van Cauwenbergh – Les Bourgeois
Acosta – Carmen
Reinoso – Anadromous
Garcia – Majisimo

A Classical Farewell is Carlos Acosta’s farewell from the classical dance stage. The production, which Acosta takes across the world before he closes his illustrious dance career, features his handpicked selection of young Cuban dancers. While Acosta is the main bill, in reality he only appears in three of twelve pieces, leaving the bulk of the hard work to his compatriots. The overall effect could not be considered underwhelming, however, as the male corps effused Acosta’s dancing shadows and female corps gave us glimpses of Marianela Nuñez and Tamara Rojo, both of whom were Acosta’s frequent and favorite partners in Covent Garden.

At 43, Acosta could no longer hang as high and as long as he could in the past. His sauté fouetté, in particular, found such a short hang time that his landing was at times found ahead of the beat. But that was not to say Acosta lost one of his prized virtues in dancing – his crisply perfect timing, as he would quickly find the necessary adjustments to re-synchronize with the taped music. In the only classical piece he performed – the Diana & Actaeon divertissement – his movements were liquid, and his stance was always picture perfect. He used his extended and still-extremely flexible limps to shape beautiful contours. When his body lines were carefully positioned at rest, one could see great sculptures of body art, as if Acosta was not only performing as a dancer on stage but exhibiting as a sculptor in a museum. Laura Rodriguez, benefiting from Acosta’s enormous hands and rock-solid lifts, danced the Diana part with an expressive, carefree abandon. Her greatest liability, as was the case with the other female soloists though no fault of their own doing, was that her limb extension was not far enough to produce the most elegant lines that we came to expect at major houses; but they surely worked hard to make up for the deficiency with good effort and focus. In Acosta’s other solo piece, Van Cauwenbergh’s “Les Bourgeois”, Acosta danced to the eponymous Jacques Brel song in the style of Tevye from “Fiddler on the Roof”, or Falstaff. In this instance, Acosta showcased not so much his dancing prowess as his talent for drama and comedy, and revealed what could possibly be a viable career of dramatic choreography and feature production ahead.

Dancing closest to the shadows of Acosta was Luis Valle, who moved his body with great rhythmic precision and exceptionally powerful legs in “Carmen”, where he danced with Rodriguez. The pair moved seamlessly, and well reminded the audience of Acosta and Rojo of the yesteryear. Acosta’s choreography was sensual, intense and dreamy, quite in the same stylistic vein as Martha Clarke’s “Chéri”. The rest of the dancing was fine, but Ely Regina Hernández’s rendition of Van Cauwenbergh’s “Je ne regrette rien”, to Edith Piaf’s music, stood out, not merely because of her rhythmic acumen but because her body strength allowed her to execute some extremely memorable body lines full of charisma and style, as if Sylvie Guillem did Pina Bausch.

José Garcia’s “Majisimo” rounded out the evening. Created in 1965 for the Ballet Nacional de Cuba, this divertissement combines classical techniques with Hispanic flair. Here, the corps seemed genuinely most comfortable. While Acosta had the leading role, the star potential of Enrique Corrales, Javier Rojas and Luis Valle really shone through. Corrales might have been a weak and unsteady Siegfried, but he was brimming with smile and confidence in this particular endeavor. The three could be seen occasionally out-hanging Acosta in mid-air. They seemed to relish their stage presence, even next to the dancing giant that was Acosta. This evening, as it turned out, might be better remembered for the bright potential future of Castro-era (or post- Castro-era?) Cuban ballet than as Acosta’s farewell from stage. The audience might not have expected this, but it might just be exactly what Acosta has planned all along.

Acosta in Hong Kong

Acosta in Hong Kong.

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HK Phil/Behzod Abduraimov

Date: July 1, 2016
Location: Hong Kong Cultural Centre, Hong Kong.

Prokofiev – Piano Concerto No. 3
Elgar – Symphony No. 1

ENCORE (after Prokofiev)

Bach/Vivaldi – “Siciliano” from Concerto in D minor, BWV 596

Hong Kong Philharmonic
Vladimir Ashkenazy (conductor)

Closing Hong Kong Philharmonic’s 2015/16 season was a pair of concerts featuring Uzbek sensation Behzod Abduraimov on the piano. The programming was not as curious as it was stale: just over a year ago, a similar concert featured a big Elgar piece (Engima Variations), a finger-breaking piano concerto (Rach 3), and the wizardry of Abduraimov. Surely, Abduraimov is always eagerly anticipated, while the music of Elgar deserves to be heard. But what purpose does setting up similar programs serve? The program notes surely could, and should have offered an explanation, lest the programmers be accused of simply being lazy for repeating what worked before?

That being said, the concert did not fail to impress. In his Third Piano Concerto, Prokofiev scores something that frenetically switches between the lyrical and the grotesque. This evening, Abduraimov juggled a well-balanced act by deftly altering between primal lyricism and blinding hysteria, all the while keeping an absurd level of energy. Some of his peers might pound out Prokofiev’s chords in nihilistic brutality, but Abduraimov’s approach to the keyboard was better thought out, with a combination of cultured sophistication and civility. The young pianist beamed with fiery and authoritative confidence, and did not for a moment sounded muddled or indecisive. This concerto requires an equal partner in the orchestra and the soloist, and Abduraimov was clearly attentive to his partner’s sonic motions here. He leaned forward a la Glenn Gould, but would often look up to synthesize with Ashkenazy’s conducting, which gave plenty of leeway to the pianist and the various orchestral soloists to shine through. The performance probably could have benefited from a slight pick-up in pace, as there were a few instances when the orchestra (especially the brass section) was moving too far behind Abduraimov. With “Sicilienne”, Abduraimov found the perfect coupling to calm down a delirious audience eager for some more. His pace was well-measured; his touch was airy; and his phrasing was smooth as floaty silk. His phrasing of the baroque material could bother a few with a slight romantic inclination, but otherwise no fault could reasonably be found in this incredibly well-executed encore. Here, he showed great potential in a much wider repertoire, away from oft-heard, finger-breaking piano concertos.

Elgar’s First is probably the most definitive British symphony, if only because Elgar unabashedly advocated its “Britishness”. That being said, it is well documented that Elgar might have borrowed from, or influenced by, the music of Wagner and Brahms. The construction of some lower strings points to Wälsung music in Die Walküre, while various woodwind harmony reminds one of Siegfried. Here, Ashkenazy seemed ready to peel away the gargantuan piece in piece-meal bits, slowly revealing and highlighting each and every important solos. This Elgar never sounded so much like a multi-instrument concerto, each with equal prominence over the course of the symphony. Ashkenazy’s pace was thoughtful and didactic, though a brisker pace would have been preferred. Overall, the Hong Kong Philharmonic sounded quite fine, if more Germanic than British, and was clearly more attentive and lively with Elgar than with Prokofiev.