Paris Ballet Legends

Date: May 11, 2017
Location: Hong Kong Cultural Centre, Hong Kong.

Coralli and Perrot – Giselle Act 2 pas de deux, with Lucie Barthelemy and Alessandro Riga
Meehan after Ivanov and Petipa – Black Swan pas de deux, with Ge Gao and Ryo Kato
Robbins – In The Night, with Muriel Zusperreguy and Josua Hoffalt, Aida Baida and Esteban Berlanga, Agnes Letestu and Stephane Bullion
Cue – La Mort du Cygne (The Dying Swan), with Esteban Berlanga
Fontan and Sarrat – Carmen Toujours! pas de deux, with Lucie Barthelemy and Olivier Sarrat
Martinez – Les Enfants du Paradis pas de deux, with Aida Baida and Esteban Berlanga
Caniparoli – Lady of the Camellias pas de deux, with Yao Jin and Lucas Jerkander
Van Cauwenbergh – Les Bourgeois, with Alessandro Riga
Favier – Non, je ne regrette rien, with Agnes Letestu and Stephane Bullion
Prejlocaj – Le Parc final pas de deux, with Muriel Zusperreguy and Josua Hoffalt

Balletomanes in Hong Kong will certainly remember two of the pieces this evening: Les Bourgeois, danced by Carlos Acosta in 2016, and Le Parc, danced by Alice Renavand / Florian Magnenet in 2015. Van Cauwenbergh’s choreography is not so much dancing as it is acting, and here Riga romped the stage as a cigarette-smoking bombshell, with the sort of clownish smile and gestures that aroused delirious laughter in the auditorium. Aided by a younger and more flexible body, Riga’s rendition in contrast with Acosta’s felt less muscular and more natural. In Le Parc, Zusperreguy and Hoffalt’s flawless techniques would stand out more if only they did not beam with great chemistry, which they certainly did. Zusperreguy flowed just as graciously as Renavand (and Guérin – their inspiration), and seemed to enhance the role by adding a hint of nervousness and uncertainty, as if she is well aware of life’s reality even as the couple, in ecstasy, momentarily escapes from it. This display of insight was well in contrast with Jin/Jerkander in Lady of the Camellias. The Hong Kong Ballet pair displayed all of Caniparoli’s visual language while managing to find, seemingly, no chemistry between themselves. Jin’s Marguerite, often looking towards the audience, was more eager to please them than Jerkander’s Armand – something that was unfortunate, especially since the pair found good chemistry dancing together in Hong Kong Ballet’s full version back in October 2016. Alas, such was the fact of life with galas where getting into character could be a monumental task. In the Favier, Letestu and Bullion displayed great efficacy of movement and precision while dancing within the confines of a carpet barely larger than the average bathroom stall. Fontan and Sarrat’s Carmen Toujours! was perhaps one of the most exciting new choreographies I have seen lately. Physical moments switched back and forth between cruel violence and sappy tenderness, in deference to the wretched history between Carmen and Don Jose. In the frenetic scene where Jose was about to stab Carmen a la Sweeney Todd, the psychological intensity seemed most and appropriately intertwined with the visual physicality. It would have been perfect, if only the corresponding music was not the flower song, which opera lovers would find out of place. I look forward to comparing it against Yuh Egami/Ricky Hu’s new choreography for the Hong Kong Ballet later this month. Robbin’s In The Night looks and feels Parisian without actually programming as such. All three pairs’ dancing was precise, especially the dancing between Letestu and Bullion. The seasoned pair moved their legs cleanly without unnecessary jitters. Their dancing revealed not a word of flamboyance but a waterfall’s worth of human sensibility. Motions flowed with generous profundity of thought and conviction. Henri Barda, who for decades has been Robbins’ most trusted collaborator, colored the moment with delicious live rendering of Chopin’s nocturnes, among other music. His piano, situated in the pit area (stage right), was spotlighted loosely but prominently from above and was clearly programmed to be an equal partner to the dance proceedings onstage. His performance, full of voice and sentimentality, was worthy of the standing ovations the auditorium lavished him.

Robbins’ In The Night: Paris Opera Ballet legends in Hong Kong. Photo credit: Le French May website.


Sleeping Beauty

Date: March 15, 2013
Location: Shatin Town Hall, Hong Kong.

Hong Kong Ballet

Sleeping Beauty, an opulent ballet-féerie, is not easy to stage. When executed well, however, it not only fills a company’s coffers but enlivens an evening with its lavish parade of choreographed dances, especially in Act III. The effort is spread fairly evenly throughout the company, but the spotlight is on the eponymous Aurora princess. Jin Yao, Hong Kong Ballet’s principal dancer, began her Aurora steps with some tentativeness, and did not look comfortably in control during her attitude derriere handshakes. This tentativeness could appear confusing dramatically, as if she was more apprehensive than coquettish while meeting her suitors, but proved more ominous as she would, in the piqué sequence in her subsequent variation, find her hands on the floor. The blemish, however, did not fluster her at all, as she picked herself up without losing a fleeting moment and marched on, finishing the variation with renewed urgency and dynamism. Her Act III was a revelation altogether. The briskness of her movements was matched with a beaming confidence and re-born conviction. Her four fish dives (including the picture-perfect end) in the adage was definitive and articulate. On her side, Friedemann Vogel leaped over mountains and found sturdy landings in a reliable display as Florimund. Vogel and Jin’s fluid partnership was all the more remarkable because Vogel is a guest dancer from Stuttgart and does not routinely collaborate with the Hong Kong Ballet. Perhaps he should. As Lilac Fairy, Zhang Siyuan was generous in presenting a graceful figurine and an adorable countenance. Wu Feifei was triumphant, displaying both impeccable technical prowess and a vivacious, almost prankish playfulness as Princess Florine. Li Jiabo did not find a lot of elevation as the fluttering blue bird, but nailed the monumental brisés voles with no hesitation. The rest of the company should find much to savor about their performance, as the sweet fruits of their rehearsals were evident in plain sight. The Garland dance could sometimes be stale to watch, but the dancers’ steps tonight impressed with crisp accuracy, and projected a high level of energy and sophistication that lifted the entire audience.

Jin Yao, in Sleeping Beauty.

Jin Yao, in Sleeping Beauty. Photo credit: Cheung Chi Wai (via Hong Kong Ballet’s website).