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.