Ballet and dance

HK Ballet: Wheeldon, Ratmansky, McIntyre

Date: June 2, 2018
Location: Hong Kong Cultural Centre, Hong Kong.

Ratmansky – Le Carnaval des Animaux
Wheeldon – Rush
McIntyre – A Day in the Life

The penultimate performance of the Hong Kong Ballet’s 17/18 season, in the evening of June 2, was notable more for a teary-eyed video tribute to Liang Jing, the Company’s retiring senior ballet master, than for the dancing. That was not to say the dancing was sub-par – on the contrary, much joy could be culled from tidbits of individual performances throughout the evening. On the whole, however, the evening’s triple bill of modern choreography labored steadfastly forward like a transcontinental train without generating the sort of blood-boiling excitement one would find in a roller coaster. Both the Ratmansky and the Wheeldon were previously staged by the Company; only McIntyre was newly premiered. In the Ratmansky, Liu Miaomiao sported with precision and rampage as Elephant, while Li Lin and Jonathan Spigner, as Horses, approached their steps with rhythmic clarity. But Gao Ge’s Swan, while technically faultless, did not sway the audience with emotional impact. In Wheeldon’s Rush, last-minute substitutes Chen Zhiyao and Wei Wei danced gloriously in perfect partnership. Chen’s still lines brimmed with elegance, while Wei Wei’s supporting work was rock solid. Their pas de deux would have been perfect had Wei Wei been more conscientious of his stance, which tended to turn-in like an ugly duckling. A Day in the Life offered perhaps what would be the emotional high water mark of the evening. Set against 13 Beatles songs, McIntyre’s choreography adhered to the rhythmic and melodic tendencies, rather than the lyrical meaning of the music. Eight dancers shared duties more or less equally, but highlights belonged to Li Jiabo and Xia Jun. To the music of Mother Nature’s Son, Li Jiabo swamped the stage with energy, generated chiefly from the strength of his core and leg work. Xia Jun danced to Wild Honey Pie, an experimental piece by McCartney that lasted barely over a minute. But what a minute that was. Xia Jun unleashed a voracious tornado of power through powerful limb work, especially his arms. Swift movements that brought his arms from a stretched position to over his chest and back punched with rhythmic sensation. The volume of the soundtrack was either amplified slightly to match Xia’s solo fervor, or his tremendous effort was perceived to have amplified the ambient track. Xia’s performance in this evening alone should guarantee his place as a premier dancer of the Company. The rest of the cast was also good: Chen Zhiyao and Liu Miaomiao showed their more chirpy side dancing to the snappy Beatles tunes, while Yang Ruiqi danced with the sort of White Cat-like spirit that enlivened the auditorium. But the evening as a whole lacked intricate choreography worthy of lasting imprint in the memory; nor was there a long build-up that would mirror the grand pas in the classical repertory (Balanchine’s Stars and Stripes, as an example, would have offered that sort of climactic bookend). In the end, that grand pas finale belonged to Liang Jing, who would depart after more than two decades of service – as dancer and as ballet master – to the Company. Four former and current artistic directors, as well as many dancers, lavished their praises in the video tribute, but the most personal tribute came from Madeleine Onne. Her voice, nearly cracking with poignant melancholy, expressed her gratitude to Liang with sincerity and sensitivity. As she sang the praises of Liang’s devotion, plenty in the audience nodded in agreement. That was perhaps that singular oomph moment missing in the programming.

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Ballet and dance

HK Ballet: Le Corsaire

Date: November 4 (evening), 5 (mat), 2017
Company: Hong Kong Ballet
Choreography: Anna-Marie Holmes, after Konstantin Sergeyev and Marius Petipa
Location: Hong Kong Cultural Centre.

Conrad: Wei Wei (4e), Matthew Golding (5m)
Medora: Maria Kochetkova (4e), Jin Yao (5m)
Ali: Li Jiabo (4e), Li Lin (5m)
Lankendem: Xia Jun (4e), Wei Wei (5m)
Gulnare: Ye Feifei (4e), Chen Zhiyao (5m)
Birbanto: Shen Jie (4e), Jonathan Spigner (5m)
Pasha: Ricky Hu (4e), Shunsuke Arimizu (5m)

City Chamber Orchestra of Hong Kong
Judith Yan, conductor

The first time I watched the ABT was back in 1998, in that Company’s premiere of Le Corsaire. Back then, I had limited knowledge of ballet and its world, but was nevertheless mesmerized by the airy steps of Medora. I was also dumbfounded by a rapturous buzz, during intermission, of a fine young dancer, in the relatively minor role of Birbanto. Of course, Medora was the great Nina Ananiashvili, and Birbanto was Angel Corella. The production presented in Hong Kong this week inherited from that ABT production, by then Boston Ballet’s Anna-Marie Holmes, the first North American to have danced with the Kirov.

The Hong Kong production, with modified choreography by Holmes in the grotto and garden scenes, offers stunning costumes and a lavish set, by Hugo Millán in conjunction with BNS Ballet National SODRE Uruguay. The side draperies offer a festive palette, especially in the garden scene. Rear video projection enriches each scene with blue skies, rugged seas, or an animation of a slowly extending palace, leading up to the garden scene. Wei Wei, as Conrad in the evening performance, gave solid jumps and fine turns. His turn-in stance could sometimes be a little off putting, but when in movement his focus was intense and rightly placed. Matthew Golding showed enormous power with his fiery jumps and handy lifts. Much of that power originates from his sizable thighs, which look especially voluminous when juxtaposed next to the legs of Jonathan Spigner, who is already one of the more muscular dancers in the local Company. Holmes’ large set inside Cultural Centre’s relatively small stage did not do Golding any favors, as he seemed confined and unable to do any en manages bravura runs of significance.

Maria Kochetkova was flawless as Medora. Her piqué turns were swift and gorgeous to look at, and her jumps yielded great height especially when measured against her diminutive figure. Jin Yao, in the matinee, showed signs of an aging ballerina, with muddled steps during Medora’s Act I variation: most of the regular pirouettes were done off balance and not in sync with music, while the couple of beautiful pirouettes attitude en dehors simply disappeared. Her Act II fouettés did not even nearly make the full count. That being said, she brought the role to life with timely eye contact with her counterparts and with the audience. Her pantomime, especially towards Golding’s Conrad, looked entirely believable, and would have delighted Ananiashvili, herself an animated and committed actor on stage. Li Jiabo and Li Lin were both fine as Ali, with Li Jiabo being more impactful dramatically as a loyal servant of Conrad and with Li Lin more dazzling with his swift (especially those cloches!) and musically precise movements. Ye Feifei, having taken a leave of absence from the Company, from 2014-2016, was in her best form since her return. Her core has strengthened, and she seemed more willing to commit her steps with greater emphasis on artistic fluidity and emotional abandon than merely with technical perfection. She also seemed more flexible than she has ever appeared, especially with multiple gorgeous, and seemingly effortless, side oversplits. Chen Zhiyao appeared slightly more mechanical as the other Gulnare. Her turns were clean and sharp, but being the much younger dancer her steps looked counted. She also found her body brushing against the side curtains not once but twice. Xia Jun made most out of his limited time in the role of Lankendem with sharp moves and fiery acting. Ricky Hu and Shunsuke Arimizu offered plenty of comic relief as Pasha, with Ricky Hu not only offering small details in his steps but also showing a particular apt sense of timing, for example, while playfully toying his ceremonial staff with Medora.

Judith Yan had great ideas in the pit, especially in the Act I overture. Her arms moved furiously, and her cues were crisp and firm. Alas, she seemed unable to fully realize her desires from the City Chamber Orchestra’s playing. The orchestra had a strong strings section (with concertmaster Amelia Chan delighting with fine solos), but was otherwise quite weak, especially in the lower brass. The percussion section, especially at the cymbals, often found itself behind the beat, though no harm was visibly done on the dance stage. Madeleine Onne, the Company’s previous director, may have already planned this production well before her departure earlier this summer, but Septime Webre, her replacement, could be lauded for executing this project beautifully. The entire Company seems to enjoy their output, as did the audience based on their wild reception at the end both performances.

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Ballet and dance

HK Ballet: Don Quixote

Date: August 26 and 27, 2017
Location: Hong Kong Cultural Centre, Hong Kong.

Choreography by Marius Petipa and Alexander Gorsky, with additional choreography by Nina Ananiashvili

Kitri/Dulcinea: Iana Salenko
Basilio: Shen Jie (26), Wei Wei (27)
Mercedes: Yang Ruiqi
Espada: Li Lin
Don Quixote: Lucas Jerkander
Sancho Panza: Luis Cabrera
Lorenzo: Ricky Hu
Gamache: Jonathan Spigner
Kitri’s friends: Dong Ruixue, Naomi Yuzawa
Queen of the Dryads: Chen Zhiyao
Gypsy Baron/Tavern Keeper: Yuh Egami
Cupid: Law Lok Huen Tirion
Act III Bolero dancers: Shunsuke Arimizu, Lai Nok Sze Vanessa
Act III variations: Nana Sakai, Chaelee Kim

Hong Kong Ballet

Hong Kong Sinfonietta (orchestra)
Benjamin Pope (conductor)

Hong Kong Ballet opens its 2017/18 season with Petipa’s Don Quixote. With its unambiguous optimism and feel-good pleasantries, the ballet helps to ring in the company’s new era under its new Artistic Director Septime Webre. Much of the choreography is unmistakably Petipa’s and Gorsky’s, but Ananiashvili, who at Bolshoi was once an iconic Kitri herself, streamlines the storytelling by shaving away a great deal of original choreography, including much of Espada’s and a good deal of corps dances in the dream scene. Remaining faithful to Cervantes, Ananiashvili has left in place some non-dancing theatrical elements, such as Don Quixote’s unfortunate entanglement with the windmill or Sancho’s food stealing episode. The end result is a Don Quixote that offers a flowing storyline with the essential colorings of Petipa/Gorsky. The truncations, however, offer less opportunities for the corps to show off their goods, especially pointe work during the dream scene.

Leading both evenings as Kitri was Iana Salenko, a guest artist from Berlin. Salenko’s Kitri is fiery, fun and playful. Barely over five feet tall, Salenko’s small body frame allows her to move with seemingly no effort. Her great sense of musicality allowed her développés to unveil naturally, eventually reaching perfect alignments on beat. Her turns set ablaze the stage with intensity and focus, and her finishing steps were not only clean but well attuned to the corresponding melody. The only blemish on the August 26 performance was that she fell off pointe after her first few fouettés in the evening’s climax, but to her credit, even when the conductor did not seem willing to bend to her reduced velocity, she picked up speed out of sheer will and executed the rest of them admirably, if not, given the circumstances, flawlessly. In the August 27 performance, her ending pièce de résistance, packed with many doubles a few triples, was visually more stunning to watch, though as a whole she was more in form and gave more in the first performance than in the second.

Shen Jie on August 26 offered a mischievous Basilio, whose fake death prompted a delirium in the auditorium. His chaîné turns were swift and weightless, while his sautés found great reach and clean finish. He was a dependable lifter, and his single-armed lifts of Salenko prompted perhaps the loudest mid-ballet applauses in both evenings. Wei Wei on August 27 was not as outwardly dramatic. As a late replacement for Shen, who was originally scheduled to dance both evenings, Wei was seen moving slightly off the pace of Salenko when dancing with mirroring steps. Nevertheless, he has shown to be a reliable partner with good lifts and solid support, and, as the evening progressed, Salenko seemed more and more willing to entrust him to get the job done.

Li Lin’s Espada and Yang Ruiqi’s Mercedes had the right attitudes for their roles, but did not have nearly enough steps to allow the company soloist and coryphée, respectively, to fully shine. Lucas Jerkander’s Don was appropriately stolid throughout, while Luis Cabrera’s Sancho was comical without being whimsical. Jonathan Spigner showed superb comedic talents as Gamache, and could be seen applauding profusely after each of the variations in the wedding scene. He was enjoying the moment as much as the rest of us in the auditorium did. Chen Zhiyao’s Queen had shaky moments, especially at the beginning of her variation on August 26, but performed much better, and with more of the Queen’s lyrical classicism, a day later. Shunsuke Arimizu and Vanessa Lai showed a well-rehearsed pair of Bolero dancers, and provided the perfect evidence that even dance numbers that are frivolous to storytelling could be essential enhancements to the buffet galore that is Don Quixote. Nana Sakai and Chaelee Kim provided variety and additional flavorings during the grand pas, albeit with imperfections. Sakai was a bit rigid in her first evening, but seemed more relaxed in her second. Kim looked nervous and lacked jump height in both evenings, but arguably executed more cleanly in her second outing. As Kitri’s friends, the dedicated pair of Don Ruixue and Naomi Yuzawa, by having fine evenings deserving commendation, showed depth in the company corps. They had a full work load as they also danced the second act gypsy dances. Tirion Law offered a sunny and chirpy characterization of Cupid. Her arm alignments were elegant and natural, and her smile intoxicating. While she had some problems synchronizing her still alignments with her music’s rest beats, her solo performance as a whole was easily the most memorable, if not the best, among the corps.

The staging was minimal but had some interesting moments, including the opening scene where cartoon silhouettes depicting Don Quixote and Sancho were projected, as if they were readying a journey. Some stage direction should also be thought over: in the wedding scene, an extra showed up awkwardly at upstage right, right in the middle of the wedding group dance. For a while I was expecting something from her. Also, some props were placed so close to the center that they could easily chop off Basilio’s flights. The costumes were, for the most part, unattractive and forgettable. Hong Kong Sinfonietta was in the pit, led by guest conductor Benjamin Pope. The orchestra sounded well-balanced and lyrical: its surprisingly refined phrasings and buttery intonations were, alas, more Straussian (Johann) than Minkus. At times, the orchestra sounded like they were dabbling in some sappy music of Richard Heuberger, rather than the energetic vigor that is Minkus. Sparks did not fly. The rudder does not navigate itself; any such curious coloration (or lack thereof) must point to the navigator, i.e. Pope. To Pope’s credit, he moved the drama flowingly, perhaps in deference to the modified choreography, but on few occasions, the music would pick up abruptly, with the dancers barely finishing their bows and being rushed awkwardly offstage.

Don Quixote. Photo credit: Conrad Dy-Liacco/HK Ballet.

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