B – EAU – TI – FUL
They say that beauty is in the eyes of the beholder. Whether it’s a rush of overwhelming sadness as one gazes at the eyes of Vincent van Gogh’s subject in “Portrait of a Peasant” or the patriotic fervor rumbling heroically within one’s soul during Tchaikovsky’s “1812 Overture” played by the Los Angeles Philharmonic under the baton of Gustavo Dudamel, beauty is individual, impactful, yet ephemeral. Seeking the promise of joie de vivre, at least for a couple of hours, this guy engulfs himself in beauty tonight as he luxuriates among the artists of AMERICAN BALLET THEATRE (ABT) as they interpret LA BAYADERE on the stage of the DOROTHY CHANDLER PAVILION in Los Angeles (LA).
Often considered one of the five greatest classical ballets, along with SLEEPING BEAUTY, THE NUTCRACKER, SWAN LAKE and DON QUIXOTE, tonight’s ballet in 3 Acts features music by Ludwig Minkus as articulated magnificently by a 68 piece orchestra conducted by Ormsby Wilkins. It has been in the repertoire of this world class company for several decades using the choreography of the great ballerina Natalia Makarova after Marius Petipa.
LA BAYADERE (“Temple Dancer” in English) follows the story of a torrid love affair in India between the warrior Solor (Jeffrey Cirio) and Nikiya, a temple dancer (Isabella Boylston). A major complication arises in which the Rajah (Alexei Agoudine) demands that Solor marry his daughter Gamzatti (Misty Copeland). The High Brahmin (Roman Zhurbin), himself a suitor of Nikiya, likewise impacts the possibilities available to the pledged lovers. Now the forces of personal destruction intervene with intrigue, divided loyalty, suicide and murder all playing a significant role. Next, witness Solor’s opium-fueled reverie about his departed lover as well as preparations for his upcoming nuptials. Eventually, after the verdict of the gods is rendered, the tale continues on the “other side”. There is time, though, for a highly distinctive solo from a bronze idol (Joseph Gorak) before that occurs!
Count me a fan of the pre-show educational schooling about the ballet. Interested audience members learn the details surrounding the evolution of this ballet from its origins in St. Petersburg, Russia leading even to the current production and its specific dancers. After all, how else might I discover that Joseph Stalin was an avid balletomane? Curious, certainly.
As one might expect, the dance celebrity Misty Copeland finds herself a particular favorite of the sold out, opening night audience of 3200 ballet enthusiasts. Isabella Boylston also impresses with her sensitive portrayal of the temple dancer, replete with the technique and delicacy required to create the grandeur – the genre demands magnification – of burgeoning love, its betrayal and its rejuvenation. Finally, it is the virtuosity of Jeffrey Cirio as Solor who manages to garner the most generous approbation from the adoring crowd. Truly astonishing athleticism!
The “The Kingdom of the Shades” reveals as an event unto itself, frankly. Its precision absolutely stuns. So grateful that fans on the west coast can sample its allure.
While this critic considers himself less a devoted fan of the ballet and – instead – more of a curious onlooker and voluntary prisoner of the Arts, he celebrates the opportunity to inhabit this incredible world if only just for a few hours occasionally.
Pc: Gene Schiavone
Kickass Dancing…Commentary on Pirouettes, Hippin’ ’n Hoppin’, Splits,Tutus and Any Rhythmic Gyrations Guaranteed to Get the Toes Tappin’ or the Heart a – Thumpin’
