Classical
Showcase
The
Winter Performance
Universal Ballet Academy
4301 Harewood Road NE
Washington, DC
Saturday, December 13, 2003
by George Jackson
copyright © 2003
George Jackson
Recitals
by the Universal (formerly Kirov; originally Universal) Ballet Academy
have gained a reputation for classical purity and professional polish
that is matched by few other schools around the world. These showcases
occur two or three times a year just before breaks in the academic schedule
and they are long, lasting sometimes three hours or more. This year's
winter performance was relatively brief, just two and a half hours. Often
the starting number is a demonstration class but this time it was Classical
Composition by Nadig to Glinka music that served as a classroom based
entrée for six young women. There followed 32 other numbers, 18
of them by (or after) Marius Petipa. All the Petipa selections were classical,
not from his character dances, for arguably even Raymonda's solo is upper
class at its core with the folk ingredients elegantly, imperially transformed
(An Na Yung had the requisite authority). Among the dancers lit up by
Petipa were Ian Lindeman (in the Paquita trio), Emily Bicks (in
a Don Quixote Act 3 solo, and very finished for someone so young),
long limbed Sae Hyun Kwon (in the Vestalka solo to music presumably
by Gasparo Spontini and not Sposini; although M. Ivanov is listed as composer
for Petipa's ballet on the Vestal Virgin topic, this could have been from
the Spontini opera), Kenya Nakamura (in the Giselle Peasant Boy
variation), Brooklyn Mack (powerful in a Le Corsaire solo and
partnering lyrical Sofia Dahlgren in the duo), Sasha De Sola (another
Corsaire variation), Mikayla Williams (simple, fresh and elegant
in a Sleeping Beauty Prologue solo) as well as Mara Thompson,
Emily Drexler, April Giangeruso and Hee Kyung Bae. The dancers in Petipa
ensembles struck the right balance between individuality and uniformity.
Other classical or neoclassical choreography was by Alexander Gorsky (an
Alonso edition of a La fille mal gardée solo, danced with
spunk by Mathias Dingman), Lev Ivanov (the metronomic Little Swans quartet
from Swan Lake), Vassily Vainonen (Flames of Paris duo
with bright Kiri Chapman and Maxim Clefos), the Legat brothers (the ballerina
solo from the Fairy Doll trio, danced by Brianna Stinebaugh),
Leonid Lavrovsky (a Pizzicato to Delibes music, danced by Caitlin Miller
and Katie Wee), Vakthang Chabukiani (a doubled male variation from Laurencia
with Ryosuke Ogura and David Harvey), Vladimir Djouloukhadze (another
doubled variation, this one to Offenbach music for young Travis Bagget
and Philip Slocki), and Vassily Vainonen (the floral ensemble waltz from
The Nutcracker Act 2, which served as the evening's finale).
A pleasing aspect of the program was the stylistic attention given different
choreographic conceptions. Gorsky's Ocean and Pearls Trio from Little
Humpbacked Horse is often danced as if it were Petipa softened. It
is art nouveau choreography, which should have firm linearity but with
tendrils. Shane Wuerthner and his partners, Angela Zint and Anna Cannon
had the stylization at their fingertips and elbows. Remember what a hard
time Suzanne Farrell's dancers had adapting to Maurice Bejart's ecstatic
manner a couple of seasons ago? Dingman mastered the passion and did so
with nobility in Bejart's Sertaki to Theodorakis music.
The program's character numbers were aptly balletic. Djouloukhadze's Young
Sailors' Dance to Offenbach showed off the academy's team of
very young boys. Both of Luke Newton Mason's dances, the trio Gypsy
Love (music: Maria Delmar Bonet) and the women's ensemble Rom Peru
(music: Grovi) introduced sexy rhythms in a balletically compatible way.
Even the acrobatic, fake sentimental solo Nostalgia (Palazios'
choreography with Mara Thompson) wasn't as unsuitable as some nonclassical
numbers have been in the past.
Yelena Vinogradova and the academy's repetiteurs—Alla Sizova, Ludmila
Morkovina, Jacqueline Achmedow, Angelina Armeiskaya, Anatoli Kucheruk
and Djouloukhadze—could be a bit more adventurous in choosing choreography.
How interesting it might have been this year to have seen the Flames
of Paris duo next to its American cousin, the Liberty Bell
duo from George Balanchine's Stars and Stripes. After all, this
is the year of the Balanchine centennial. Why not do Josef Hassreiter's
Drum Majorette variation from the original version of Fairy Doll
next to the Legat brothers' solo? This year is an Ashton centennial too,
and something from Ondine might have matched and contrasted neatly
with Ocean and Pearls. I'd also like to see these pristine dancers try
the Ballet Russe choreographers—Nijinsky, Nijinska, Massine, Romanov,
Lichine. What the staff shouldn't do, however, is to stray too far from
Petipa classicism. They have updated it a bit, of course, and extensions
are higher than before yet tastefully so. The consolation of classical
dancing remains a singular pleasure, one that this performance gave viewers.
Originally
published:
www.danceviewtimes.com
Volume 1, Number 12
December 15, 2003
©2003
George
Jackson
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Clare
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George Jackson
Jean Battey Lewis
Sali Ann Kriegsman
Tehreema Mitha
Alexandra Tomalonis (Editor)
Lisa Traiger
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