Nat. Ballet of Canada at Kennedy Center
Posted 18 January 2006 - 05:38 AM
Based on seeing the rehearsal, I think the production is really terrific. The soloists did a bit of marking, but otherwise the dancing was full out. The male corps has a great section in the first act. The female corps showed great unity. The costumes are amazing, especially the black swan tutus with deep purple trim and some of the elaborate headdresses.
There was no casting information provided, and I am lousy at matching faces seen from the balcony to faces shown in studio shots on company websites, so I have no idea who did the principal roles.
Were any other Alertniks there?
Posted 18 January 2006 - 05:44 AM
National Ballet of Canada's Swan Lake opened at the Kennedy Center last night. ?
Since I will not be able to see it due to the fact that I live in Holland, I would greatly appriciate it if you keep us informed especcialy concerning the main pricipals that are involved.
That way I can imagine a little how it looks like.
Swan lake is my all time favourite.
Posted 19 January 2006 - 06:52 AM
Two young ladies from my office (who, as far as I know, rarely go to the ballet) went last night and loved it, though one noted that she sometimes felt like there were long stretches without "amazing dancing". She also noted that one male dancer seemed to have landed badly and then ran (elegantly) into the wings, and wasn't sure whether that was an injury or a planned exit.
I will be going tonight.
Posted 19 January 2006 - 09:59 AM
Bourne's version is obviously homoerotic, but while I haven't seen the production, to me nothing Kaufman goes on to say lends credence to that description for Kudelka's work. There is only the fact that Siegried's indecision leaves open the possibility that he's not attracted to women. But even that only gives us a fresh plausible perspective on the the leading male character. Is the choreography homoerotic, I wonder, or does the way the story is told just de-emphasize Odette's plight and play up the Prince's?
Purists, don't worry: The swans are still women (the homoeroticism doesn't go quite as far as in Matthew Bourne's fabulously alternative Broadway version, with its flocks of boy birds).
Posted 19 January 2006 - 03:01 PM
With all of the marketing hype in the Ballet British Columbia brochure -- one performance NBoC's Swan Lake was part of each BBC subscription -- and the program notes, I expected a version of the ballet with an emphasis on Siegfried and his discontent with the corrupt court, etc. etc. I was astonished at how there wasn't much of a difference in the way Siegfried was portrayed, except perhaps the several excerpts where von Rothbart did a shadow dance behind him, which actually contradicted the program notes view by positing Siegfried as someone having a dark side, instead of the pure-hearted soul who was disgusted by corruption.
Is the choreography homoerotic, I wonder, or does the way the story is told just de-emphasize Odette's plight and play up the Prince's?
In the first act, Siegfried and his friends are partying at the local post-hunt lodge. There's a dance for the men with the local wench. I've read reviewers who thought this suggested a gang-rape scene, but in the performance of Act I that I saw, the wench seemed to be having fun being tossed around, and there was little that was threatening. This may depend on the peformance, but if a Point is supposed to be made here, it wasn't completely clear. The entire "Prince Upset By Corrupt Court" concept in Act I didn't really register, because his friends were dressed up in comparatively casual hunting clothes, albeit the equivalent of the $300 Goretex jacket kind, while Siegfried was dressed as if he'd make an entrance into the ballroom. Dramatically, it was as likely that he was annoyed by always having to act like The Prince and never being allowed to get his clothes dirty that caused his discontent.
The third act, though, was stocked with gender politics. Each of the four foreign princesses wears a headdress thing that creates a tented canapy over her face. The court men go up to each, peer into the "tent," and decide her worth after the little peep show. Each also had a patriarch "handler" type who mimed during her variation, trying to "sell" her to the Queen Mother. During much of this, the women in the court were segregated upstage, while the men in the court treated the entire "auction" as their turf.
I think the theme was "It's A Man's World," but I didn't really see how Siegfried's character was emphasized that much, except as a contrast to the average guy. That made it even more tragic in a way: it wasn't just a man with an unknown yearning empathizing with Odette, but also a sensitive, enlightened man who still couldn't get it right, despite his best intentions.
I saw two Siegfrieds who were quite contrasting: in the afternoon, Patrick Lavoie, who was quite weak dramatically and technically, performed the role. However, he was originally cast in another semi-major role in the evening performance, and didn't perform, which could have meant that he wasn't 100%, and I look forward to seeing him again in the future. In the evening I saw Guillaume Côté, and I was over the moon with his dancing and personification of the character, but, again, I didn't see anything intrinsically different in the role.
[Edited to add: this was based on the Vancouver performances from last fall.]
Posted 19 January 2006 - 04:01 PM
Knowing that I was going to see NBoC’s Swan Lake, I printed out an article by Paula Citron of the Globe and Mail from November. (It appears in Links on November 16, 2005; unfortunately, the article is no longer available.) Citron interviewed NBoC principal dancers and coaches to get their opinions about what this ballet is about because, according to the article, Kudelka rarely explains his ballets to his dancers. Theories ranged from homoeroticism (Siegfried and Benno have a mostly non-contact PDD in Act I, Odette/Odile as a diva worshipped by gay society), to a defense of nature (Rothbart is actually the good guy who is saving the earth from the corruption of humankind, and Siegfried as prince is the human leader), to a feminist critique of the abuse women receive (women certainly don’t fare well in this ballet). Several dancers speculated that elements of the ballet are autobiographical.
I can see parts of the ballet that support all of these theories, but it seems as if Kudelka was simply trying to be ambiguous and provacative. There is no focus to this ballet, either in the overall theme or in the story. All of the conflict is external and emotion tends to be flat. According to the program notes, Act I is supposed to suggest that Siegfried is trying to escape a world in which he’s not comfortable, rather than finding an ideal love. Odette is simply a swan. Act II takes place during daylight, and there is no suggestion either in the ballet or the program notes that she is a women trapped as a swan. Her emotion in Act II is limited to fear that Siegfried will kill her and then falling in love with him. There is no sadness or sense of the inevitable. It’s also unclear what Rothbart’s role is.
Some of the more “interesting” elements of the ballet – a Queen (with hideous headdress) coming down to the docks where Siegfried and the knights are having a post-hunt drinking party to tell Siegfried that he needs to get married; a wench, who seems to be thoroughly enjoying the party up until the end when ugliness (a gang rape?) is implied; the pas de trois danced by Benno, the fool (jester), and the wench; a “game” where the knights and the wench blindfold the tutor to tease him; in Act III, princesses who dance for Siegfried rather than with him (and dance for Siegfried themselves rather then bringing their countrymen to entertain the court); princesses with male handlers (“ambassadors”); princesses who dance in front of leering knights and then stand on pedestals for Siegfried to chose which one he will marry; lakeside swans who are white in Act II but black in Act IV with no explanation of the change (Siegfried’s betrayal? the flood at the end of Act III?). In this version, only Odette survives at the end of the ballet.
Kudelka’s choreography, which predominates in Acts I and IV, is repetitive and uninteresting. Act I is male dominated; the only women are the wench and the queen, who only appears long enough to tell Siegfried that he must marry. Lots of jumps and jetes, and the knights often had a hard time staying in sync, especially on Wednesday night. In Act IV, the black swans do a lot of posing, for lack of more innovative choreography. (For example, at one point, there are five swans on stage, all holding a different pose. It’s not attractive.) The choreography in Acts II and III is more after Petipa/Ivanov, although there are definite, unappealing changes.
Costumes are often weird and tacky. The swans and Siegfried fare well, but I thought the costumes for the fool, Rothbart, the queen and her attendants, and the knights in Act III were pretty awful. Someone aptly described Rothbart’s Act II costume as “hippie,” and the princess’ headdresses are these billowing capes in garish colors. Sets are sparse and unattractive. On both nights, a wayward mechanical swan had to be rescued from the edge of the scrim by a stagehand at the end of the prologue.
Although I knew that I was probably not going to like this production, I bought tickets for two performances in order to see Greta Hodgkinson/Aleksandar Antonijevic (Tuesday) and Heather Ogden/Guillaume Cote (Wednesday). Hodgkinson and Antonijevic were somewhat of a disappointment. They both have beautiful technique and line, but were a little flat emotionally (not that Kudelka gives them much to work with). I preferred the second cast of Ogden and Cote. Cote had to adjust a few of his landings, but otherwise had a solid, engaged performance, and I can see why he has moved through the ranks so quickly.
I know that people have mixed feelings about Ogden and that she is supposed to be very strong technically, but sometimes has trouble dramatically and projecting to the audience. I was fearing a performance similar to the performances of some of the more junior female principals at ABT (strong lower-body technique, weak acting, obviously coached). Maybe I’m being too generous, but I thought she acted and projected very well, at least from the back of the 1st Tier. Maybe she’s really been working on her artistry and has finally internalized the emotion of the ballet?
Other dancers who impressed me were Stephanie Hutchinson (wench), Patrick Lavoie (Benno), Tanya Howard (Spanish princess), and Jillian Vanstone (Italian princess).
I realize that the Kennedy Center and NBoC had announced this program long before Kudelka resigned as artistic director and Kain took over. (In other words, Kain was stuck with it.) Based on what I saw and the reviews I’ve read of the company’s New York “The Contract” performances, they might want to consider non-Kudelka programs for future international tours. I saw Kudelka’s Nutcracker in Toronto a couple of years ago and didn’t like it, and I’m already dreading seeing Kudelka’s Cinderella at ABT this spring. His choreography is weak and the ballets sensationalized. This production of Swan Lake reminded me of the current trend in opera to focus on the overall production (unique and provocative interpretations, unusual sets and costumes), to the detriment of the more substantive elements of the opera. The NBoC dancers deserve better opportunities to show what they can do while on tour, and I really wish they had brought one or both of the Balanchine programs that NBoC is doing in Toronto this winter instead of this.
One other note – I have been attending ballet at the Kennedy Center for several years now and have never seen such poor attendance. On Tuesday, the 1st Tier was about 2/3 full, and it was about half full Wednesday night. I couldn’t see the 2nd Tier either night, but it looked as if there were a lot of empty seats in the Orchestra on Tuesday. Most of the people around me, especially on Wednesday, seemed to have subscriptions. It doesn’t look as if they’re selling many single tickets for this production.
Koshka, I was also at the public rehearsal on Tuesday. The Odette/Odile was Ogden. I think Siegfried was Patrick Lavoie, but I’m not positive about that.
Posted 19 January 2006 - 07:55 PM
When the corps is supposed to be doing something together, they are generally in sync and look terrific. I agree that the corps choreography with everyone doing something different just doesn't have any appeal.
As for the plot (do we really go to the ballet for the plot???), the first act is indeed weak. The whole wench role is weird, and one can't quite figure out if Siegfried is just alienated from life or is enjoying his life as a carefree bachelor. Plot problems aside, I quite enjoyed the men's dancing in the first act. I did not like the raggedy costumes for the fool and the fool's sidekicks (???)--I thought they really detracted from their dancing, which was very good.
In the second act, the baby swans were a bit tired looking but the corps work was otherwise lovely. As above, the chemistry wasn't quite there.
In the third act, I rather liked the princess costumes with the tent/cape headpiece things, and the handlers didn't seem so out of place. The leopard trim on the aqua handler's coat was something else. As above, both principals really seemed to come to life in the black swan parts--Odile is a delectably evil bad girl, and Siegfried falls for her quite convincingly.
In the final act, the black swans didn't cause me much consternation--after all, they are female and they've had an hour or so--why wouldn't they change outfits?
The black tutus are trimmed in purple and are gorgeous.
Rothbart has some dreadful costumes throughout--something raggedy early on, then black (ok) with faux torso muscles (eeeeuw) at the end.
Posted 20 January 2006 - 05:07 AM
And, LAC, welcome to Ballet Talk. I hope that you will introduce yourself on the Welcome portion of the Board, and that you'll continue to help keep us aware of and informed about the increasingly interesting ballet scene in Washington DC.
Posted 20 January 2006 - 05:40 AM
I will try to take a better look on Sunday.
Posted 20 January 2006 - 06:58 AM
I guess you could say I was against this production from the start. Kudelka should just keep his hands off the classics! Furthermore, the $1.7 million price tag put the company into debt and was one of the major sources of disagreement that led to the Kimberly Glasco fiasco. On the other hand, the Bruhn version that the company had been performing earlier had its own flaws too. The design looked dated and some of the choroegraphy was lacking. Bruhn also expanded the psychological depths of price's role; some argue that his interpretation of the prince is quite Freudian. Nevertheless, Kudelka's Swan Lake is hardly an improvement and it certainly wasn't worth the money. Nureyev's Sleeping Beauty also put the company into a huge debt. It was a big risk, but it paid off when they brought it on tour. Nureyev knew that they needed to go 'all out' for this production.
But Kudelka's Swan Lake is more 'out there' than 'all out'! Are those mechanical swans in the prologue even necessary? What do they add to the ballet? Don't even get me started on Rothbart's costumes. How are we to make sense of it? He goes from a sort of 'dark angel', naked with gigantic wings to 'hippie/sewer man' in that green unitard and headband to some kind of Batman wannabe in a black muscle suit. I agree with LAC here. Kudelka doesn't seem to be trying to send a message. He just presents an ambiguous and unclear message and hopes that people will label him as a post-modern genius.
I feel that he has stripped the ballet of it's original beauty and dignity. The Act I waltz calls for an elegant couples dance. Instead we get a male petit allegro exercise. The black swan pdd becomes a menage a trois between the prince, Odile and Rothbart- not to mention Rothbart's pervasive presence in Act II.
I agree with Helene that the prince's role isn't actually emphasized that much. He is on stage a lot, but mostly standing around, looking mopey. He seems to dance a lot more with Benno than with anyone, but I doubt this was meant as some homoerotic suggestion. I certainly don't appreciate the treatment of women in the production, however. The women fall into two categories: evil and domineering (like the Queen) or weak and dependent objects (the princesses, the wench).
Ogden has been performing Odette/Odile for a few years now and has grown into the role considerably. I noticed a big difference from the Fall 2005 performances and the last run before that.
For LAC, Kudelka's Cinderella is actually quite a departure from his previous work. I think you might be surprised. I myself really enjoyed it. It's comical, witty, original and touching. His adaptations of the classics (Nutcracker, Swan Lake) are not a great indicator of his choreographic skill that's for sure.
Posted 20 January 2006 - 03:15 PM
I have to say that I was pretty surprised about the attendence. ABT's Nutcracker (which I also didn't like -- things better pick up!) did very well at the box office. From mid December to mid January, the musical "Wicked" played in the KC Opera House and was completely sold out. I know January is a tough sell for more casual audience members, and maybe people are still in post-holiday letdown mode. But, Swan Lake is usually a guaranteed box office hit. I'm sure things will pick up this weekend. The public rehearsal sold very well, by the way.
I feel bad for being so negative about the production, but I just really feel for the dancers. They deserve a better showcase for their talent, especially on tour. I saw some very good performances from the dancers, which made it bearable.
Paquita, I know that NBoC usually announces their new season in late January or early February, and I'll be very curious to see how much Kudelka is programmed. I suspect that Kain will get things back on track, especially with the move to the new opera house.
I'm glad to hear that Kudelka's Cinderella is better, and I'll definitely watch it with an open mind. I'll be travelling to New York from the Washington area to see it, and I want to be pleasantly surprised!
Posted 21 January 2006 - 06:32 AM
Editing to change the emphasis of the story, even the locale or time period, as well as changes in decor, etc., seem quite acceptable in principle, even if you don't like the results. But I have more trouble with extensive and systematic changes to the received choreography.
This review by Jean Beatty Lewis, posted in full in today's LINKS, suggests that this is what Kudelka has done in his version. Does this concur with what you all have seen? What's your take on this issuse?
"The choreographer's tinkering ignores the great emotive swell of the music and gives us something drier and darker. His arsenal of dance steps seems limited. There are lots of simple leaps and an overabundance of landings in arabesque. His way with group patterns -- so vital in a work in which we have come to expect a glorious sweep of swans in the second act -- is busy but not enthralling. Some choreographers (Paul Taylor's "Esplanade," Christopher Wheeldon's own "Swan Lake" and Mark Morris' "L'Allegro" come to mind) have made us realize that beautiful patterns onstage can create a moral force of their own.
"At times, Mr. Kudelka's simple, athletic choreography brings new energy to the ballet, but mostly his approach is timid: beginning a sequence in the traditional way and then adding lesser choreography of his own that doesn't stand up to the original.
"One example among many is his treatment of the well-known dance for the Four Little Swans. Usually their quick, prancing steps, performed with amusing unity, continue unbroken through much of the dance. In Mr. Kudelka's version, these are interspersed with bourres, little fluttering steps on pointe, that let the dancers catch their breath -- easier to do but less exciting to watch. He also rides roughshod over the great sequence of pas de deux in what traditionally is the work's second act."
The Link to the complete review is
Posted 21 January 2006 - 11:00 AM
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