Ballet and dance

HK Ballet: Turandot

Date: February 7, 2015
Location: Hong Kong Cultural Centre, Hong Kong.

Hong Kong Ballet

Choreographer Natalie Weir’s Turandot proves to be a reliable workhorse by returning on stage in Hong Kong for a fourth time, some twelve years after its premiere. Set in Puccini’s original music, the choreography mixes classical steps with a contemporary variety. After Turandot is first kissed by Calaf in the transfiguration scene, she pirouettes sprightly, but not without collapsing her rotating axis into the caring arms of Calaf, as if ready to be completely consumed by his love. When Calaf pronounces her transfiguration: “E amore nasce col sole!”, she would stand arabesque penché while gazing coyly at him, but not before rolling with him on the floor in raunchy, steamy lust. Playing the role of this transfigured Turandot was the elegant Zhang Si Yuan, who has recently been promoted to company principal. Her movements were calibrated but faithful, and by the look of her face she seemed to be truly absorbed in her character. As Calaf, principal dancer Li Jiabo had sturdy lifting arms and, while not a particularly high jumper, produced with unfaltering reliability. Another company principal Liu Yuyao danced to the music of what is one of the saddest roles in all of opera – that of Liu. While the namesake was a coincidence, her dancing portrayed a character with unbound will-power to do what is best for Calaf, while using her impeccably strong calf muscles to glide her relatively large body frame across the dance floor with fluidic beauty. Set designer Bill Haycock enlivened what is typically the most visually boring scene in the opera – the riddle scene – by using about a dozen corp members to form words by raising alphabet shapes, in an effort not unlike the sequential unveiling of a word in Wheel of Fortune. Haycock also did magic with Liu’s death scene by placing her on a podium and dropping from the lighting grid a long-running red silk onto her dying body. By omitting Puccini’s three stooges, Weir and Haycock also managed to streamline the story and focus on the love story.

Liu's death scene.

Liu’s death scene. Photo credit: Hong Kong Ballet.

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Ballet and dance

HK Ballet: 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).

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