Filed under: Reviews | Tags: Adam Flatt, Catherine Sailer, Gil Boggs, Lorita Travaglia, Sandra Brown, The Colorado Ballet
There are times in any performing organization when, as a result of all the hard work and artistic skill, things align in just the right way so that it would seem the performance cannot be improved upon. Most certainly, it is not the result of luck or good fortune. One has to develop the ability to see what needs to be accomplished, and then possess the ability to make everything involved a very special case. That is precisely what the Colorado Ballet did, and clearly has done at all of their rehearsals, leading to Saturday night’s performance on November 24.
Truly, I don’t think I have ever heard the Colorado Ballet Orchestra perform as well as they did Saturday evening. They were absolutely superb: they were, beat for beat with the danseurs and coryphées, and the dancers were with them. That, in itself, is extremely difficult to carry off as perfectly as it occurred at the opening performance. Maestro Adam Flatt, when conducting a ballet, not only has to conduct the orchestra, but must also conduct the dancers while allowing them their own artistic freedom. He has to be able to anticipate the dancer’s moves while supplying them with the rhythmic and melodic background to which they perform. Of course, that sounds obvious, but that does not mean that it is easy or should be taken for granted. As I said above, I simply have not heard the Colorado Ballet Orchestra perform at such a level. Maestro Flatt and Maestra Catherine Sailer have truly had a profound impact on this orchestra.
The Colorado Ballet is, of course, deeply indebted to the inspiration and guidance of its Artistic Director, Gil Boggs. The kind of performance that was given Saturday evening would not be possible without the forward thinking leadership and enthusiasm that Boggs has been able to spread throughout the company. There certainly seems to be solid leadership on the board of directors as well as in the studio.
The reason I address this before I even begin to write about the dancers in the company is that I don’t think I have ever seen the entire company reflect such joy in dancing as they did Saturday evening. Of course, they like what they do, or they wouldn’t be doing it, but their enthusiasm on the opening night of The Nutcracker was something to behold, and virtually everyone on stage revealed it. That revelation made this performance outstanding.
I have always admired Dana Benton, who danced Clara Saturday evening, and Sean Omandam who danced Fritz: both of them excelled Saturday, and absolutely sparkled in their roles. In addition, the contribution that Gregory K. Gonzales makes to this production, as Drosselmeyer, and to the Colorado Ballet as a whole, cannot be understated. He was excellent. As Drosselmeyer works his magic, it was apparent, in this production, that the Christmas tree was not growing, but that everyone was shrinking down to the size of the Nutcracker and mice. And the outsized toys under the tree emphasize that fact. That event was quite clear in Saturday’s performance, even though in the past it has been the same. E. T. A. Hoffman would have loved it.
The connection between scenes in Saturday’s performance was considerably more seamless than in previous productions. The entire First Act flowed together so that when the intermission arrived, it seemed as though only ten minutes had passed. Casey Dalton, Kevin Gaël Thomas, Cara Cooper, Shelby Dyer, Morgan Buchanan, and Caitlin Valentine-Ellis were all superb.
Act II, as all of you must surely know by now, presents the trip that the (Nutcracker) Prince and Clara take to enchanted lands, where they are entertained by many dancers. The Spanish, Arabian, Chinese, March and, Russian, Dew Drop, and the Flowers were all exceptional, but there were three that stood out, at least to my way of thinking. This ballet seems to have more lifting required, where the male dancer raises his female partner over his head. In Saturday’s production, Luis Valdes and Shelby Dyer danced the Arabian. Valdes accomplished this with such grace and ease and lack of hesitation that I was awestruck. I’ve seen this ballet many times, but never have I seen it accomplished with such seeming lack of effort. I point out that Shelby Dyer must have enough confidence in Valdes that she can allow and trust him to do this without flinching. And, of course, it must all be done under Maestro Flatt’s, Martin Fredmann’s (the choreographer), Sandra Brown’s and Tchaikovsky’s direction.
The second dance that I found spectacular was Marzipan, which was danced by Casey Dalton, Caitlin Valentine-Ellis, and Jesse Marks. The characterization and humorous drama that this pas de trois provided to the audience was delightful. The members of the Colorado Ballet have always surprised me with their acting ability as well as their dancing ability. I don’t recall seeing this depth in other dance companies, except very rarely.
The third dance was the Dance of the Flowers. At the very beginning, the orchestra and the dancers wrought an incredible rubato that was absolutely and precisely together. They did it more than once. Rubato means “dwell on” where the rhythm is used to prolong prominent melodic tones (or chords). This requires an equivalent acceleration of the less prominent tones, so that the time value is robbed. It is one thing for a soloist to accomplish this because a soloist does not have to rely on anyone else to stay with him. But when an orchestra does it together with a group of dancers onstage, and does it repeatedly with no errors, it is something of which to take notice. It is the result of incredible work and skill, and an exchange of artistic thought between dancer and conductor. For that reason, I came away from this performance thinking that the Dance of the Flowers must be one of the most subtly difficult in this entire ballet. It was mesmerizing.
Of course, another highlight of this remarkable performance was the pas de deux between the Sugar Plum Fairy, danced by Maria Mosina, and the Cavalier, danced by Alexei Tyukov. Both of these Principals are so full of grace, beauty, and strength that it absolutely boggles the mind. Their pas de deux requires many jeté entrelacés and grand jetés, but they never seem to get tired, and in addition they communicated this pervasive sense of joy in what they were doing that it was infectious. It was palpable.
I have said this before, but it bears repeating. It is extremely rare to attend a performance of a ballet company that has such remarkable depth of artistic ability. It is rare to see performances by a ballet company where virtually all of the dancers so easily demonstrate the love for what they do. That makes an incredible difference. The staging, done by Lorita Travaglia and Sandra Brown, was excellent. The Colorado Ballet is fortunate beyond compare to have Gil Boggs, Maestro Adam Flatt, and Maestra Catherine Sailer, Sandra Brown, and Lorita Travaglia as the Artistic Staff. For any organization to succeed as the Colorado Ballet has succeeded, it is clear that they must support one another and share a mutual artistic respect. Everything this entire company produces is art.
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