Filed under: Reviews | Tags: A Midsummer Night's Dream, Adam Flatt, Alexei Tyukov, Asuka Sasaki, Catherine Sailer, Chandra Kuykendall, Dana Benton, Dmitry Trubchanov, Domenico Luciano, Dracula, Emily Dixon, Emily Speed, Francisco Estevez, Gil Boggs, Lorita Travaglia, Luis Valdes, Maria Mosina, Melissa Zoebisch, Morgan Buchanan, Sandra Brown, Sean Omandam, Sharon Wehner, Shelby Dyer, Tracy Jones, Viacheslav Buchkovskiy
The Colorado Ballet gave their opening performance of the season at the Arvada Center Outdoor Amphitheater on Saturday, August 16. Some of the works that were on the program have been previously performed, but Saturday night they were infused with a new sense of freshness and enthusiasm that truly reflected the excitement of an opening season. Indeed, there has been so much good news from the Colorado Ballet in the last few weeks. The Artistic Director, Gil Boggs, has wisely been offered – and he has signed – a new five-year contract. This is remarkably good news, for it should be obvious to everyone that he has turned the Colorado Ballet into a vital and robust program that has some of the best dancers in the country. The second bit of good news is that Dana Benton and Domenico Luciano have been promoted from Soloists to Principals, and that is most certainly where they belong, for they are stellar artists. The other bit of good news, as most of you ballet aficionados know, is that they are preciously close to moving into their new building in the art district on Santa Fe. Note that it is their building, and they won’t have to pay anybody rent.
Keep in mind that on Saturday there were no complete works performed: this wonderful dance concert was comprised entirely of excerpts which gave the audience a taste of the coming 2014-2015 season. And, in addition, the opening excerpt, a pas de deux from the ballet Flames of Paris, was used simply as an introduction to their entire performance. I’m sure it was chosen because the choreography certainly attracts immediate attention due to its difficulty and its romantic ambiance. It was danced by Dana Benton and Viacheslav Buchkovskiy. The original ballet was premiered in 1932, and it is a fairly typical “French Revolution” ballet which deals with the trials and tribulations of that era. The music was composed by Boris Asafyev (1884-1949) whose music sounds very much like Tchaikovsky. The choreography was done by Vasily Vainonen and it requires a great deal of virtuosity. Benton and Buchkovskiy are, of course, two virtuoso artists and it showed very clearly in this introduction which alternated between solo dances and a pas de deux. As I said above, the entire company seemed to be very excited for the opening performance, and certainly Benton and Buchkovskiy were no exception.
You readers, who are not totally familiar with ballet terminology, must understand that principals are the top-of-the-line. Next, comes soloists, and, after that are members of the corps de ballet. I mention this only to tell you that everyone in the Colorado Ballet is an exceptional dancer, and I have absolutely no doubt that all of them are quite capable of eventually being promoted to a principal. From my point of view, it is only the smallest detail that is separating them now.
Next on the program, Maria Mosina and Alexei Tyukov danced the Grand Pas de Deux from Mendelssohn’s A Midsummer Night’s Dream. The music for this ballet always startles me, because Felix Mendelssohn (1809-1847) wrote the Overture to A Midsummer Night’s Dream when he was 17 years old. Dwell on that. He wrote the incidental music (incorporating the Overture) for Shakespeare’s play shortly before his death, and it is that music of Mendelssohn’s which is used in the ballet.
Maria Mosina and Alexei Tyukov were sensational. They are sensational because they are totally consumed by their art, and there is nothing that detracts from their concentration on that art, which includes their relationship to each other on stage. They are capable of so much communication through their movements and facial expressions, that it surely must attract the attention of those not totally familiar with ballet. Therefore, they are completely able to convert ballet neophytes to ardent supporters. And, as in paragraph one of this article, there is one more bit of good news: everyone in this company is capable of doing exactly that. It’s still astounds me that Gil Boggs has put together such an amazing collection of dancers. Maria Mosina and Alexei Tyukov are positively electrifying.
The Mendelssohn was followed by a short work entitled Young and Beautiful featuring the choreography of the Colorado Ballet’s own Sandra Brown with music by Lana Del Rey. This was a pas de deux that was stunningly beautiful, and it was danced by Chandra Kuykendall and Domenico Luciano.
Following the remarkable grace of Kuykendall and Luciano was a solid and very expressive depiction of evil. It was the pas de deux from Dracula danced by another incredible pair of dancers, Sharon Wehner and Dmitry Trubchanov. This is the pas de deux wherein Dracula entices Mina from her bed by appearing in her dream, and then flings her around the stage by her emotions, at once enticing her with his supposed love, and repelling her with his overpowering evil. This was another pas de deux where the emotional expression conveyed by the dancers was unmistakable.
Sitting in front of me were some individuals that seemed to me to be unfamiliar with the power of expression of which ballet is capable. When Dracula ripped open his shirt and slashed his chest open, and then thrusts Mina’s face into the blood forcing her to drink, the individuals stared at each other, not believing the horror they had just seen. It was a very powerful moment. If any of you readers have not seen Dracula by the Colorado Ballet, I would encourage you to attend this season. Yes, it is horrifying, but the choreography by Michael Pink, and the music by Philip Feeney, will stay with you for a long time, not only because of the horror, but because of the beauty as well.
The Colorado Ballet then performed the Scherzo from A Midsummer Night’s Dream. This certainly demonstrated the depth of ability of the dancers in the Colorado Ballet. Asuka Sasaki, Sean Omandam, Shelby Dyer, Morgan Buchanan, Luis Valdes, Francisco Estevez, Emily Speed, Tracy Jones, Emily Dixon, and Melissa Zoebisch were truly remarkable. Again, it all comes down to their expression through the movement and the spirit of the music. Some of these are new faces, but they are certainly welcome additions to the Colorado Ballet, and it is an important point to make that the Colorado Ballet can attract, and demand, dancers of this quality.
After the intermission, the second half of Saturday’s performance was taken up by the remarkable (there’s that word again) choreography by Sandra Brown in the performance of a new ballet, The Last Beat, which was given its world premiere in March of this year. The entire company was used on this half of the program. All of the dancers in the Colorado Ballet exemplify what it means to be a member of a Professional company. And, I might add, that this organization keeps getting better and better, and ever since Gil Boggs, Sandra Brown, and Lorita Travaglia have been a part of this organization, their artistic demands have been raised and met with every performance. The choreography for The Last Beat is difficult, and I think there is no mistaking the fact that Sandra Brown took into consideration the dedication and artistic ability of the dancers she was writing for. If you demand a lot, you will receive a lot.
Saturday’s performance was memorable. In addition to all of the good news, there is still more. Even though Saturday’s performance was done to recorded music (there is no room for an orchestra at the Arvada Center Outdoor Amphitheater) Maestro Adam Flatt and Maestra Catherine Sailer will still be in charge of leading the Colorado Ballet Orchestra.
The Colorado Ballet is comprised of individuals who have made a tremendous investment to their art. They have made it very clear that their art comes first. Therefore, let us all make our own investment, and attend their performances so that this outstanding ballet company will understand how much we appreciate them.
Filed under: Reviews | Tags: Adam Flatt, Ben Stevenson, Catherine Sailer, Christopher Moulton, Cinderella, Colorado Ballet, Dmitry Trubchanov, Francisco Estevez, Gil Boggs, Janie Parker, Kevin Gaël Thomas, Klara Houdet, Lorita Travaglia, Maria Mosina, Michelle Orman, Morgan Buchanan, Sandra Brown, Sergei Prokofiev, Sharon Wehner, Shelby Dyer, Tracy Jones, Viacheslav Buchkovskiy
As I have often said, Artistic Director, Gil Boggs, of the Colorado Ballet, has assembled an organization that is truly superior in the world of dance. This was clearly demonstrated Saturday, February 16th, at their performance of Sergei Prokofiev’s marvelous ballet, Cinderella. The artistic staff of the Colorado Ballet, aside from Gil Boggs, is as follows: Sandra Brown, Ballet Mistress; Lorita Travaglia, Ballet Mistress; Maestro Adam Flatt, Music Director and Principal Conductor; Maestra Catherine Sailer, Associate Conductor; Ben Stevenson, Choreographer; and, Christina Giannelli, Lighting Designer. This season’s performance of Cinderella was staged by Janie Parker.
Sergei Prokofiev (1891- 1953) breathed new life into the symphony, the sonata, concerto, and most certainly, the ballet. Early on, Prokofiev tried to duplicate the success that his older countryman, Sergei Rachmaninoff, had had in the United States. Prokofiev himself was a brilliant pianist, but for some reason he was not met with the same reception. His first ballet that became an international success was Romeo and Juliet, but many of his other works were met with extreme hostility from the cultural ideologues of the Soviet Union. He was called before the Supreme Soviet and told that his music was bourgeoisie, and did not reflect proper Soviet culture. His works were banned from performance. Part of the reason for this was that his music was filled with harmonic deceptive resolutions, the use of modes simultaneously with major and minor, disjunct melodic lines with surprising twists and turns, and, at times, dissonances that were, as he labeled it, used in effort to “tease the geese.” In other words, annoy those who had banned his works.
Cinderella closely adheres to the tail written by Charles Perrault. All of you readers know the story, having heard it many times in your youth. Prokofiev, in his ballet, emphasized comedy, as well as love, compassion for others, and the yearning to do, and be, something different.
The two mean stepsisters are always played by males in this ballet in order to emphasize their ugliness and the obstreperous behavior. Saturday evening, Francisco Estevez and Christopher Moulton danced the two stepsisters to perfection. They were ill-dressed, rowdy malcontents who were abusive to their stepfather and stepsister. Dmitry Trubchanov danced the role of the Father, and Lorita Travaglia danced the role of the Stepmother. Sharon Wehner danced the role of Cinderella, and though I have seen this ballet several times, I have never seen anyone infuse the role of Cinderella with so much emotion, whether it be poignancy or absolute joy. It truly made me think that she and Choreographer Ben Stevenson were absolutely on the same wavelength, with every movement she made. Every movement she danced, she described Cinderella.
Act I is used to introduce the audience to all of the characters, and every dancer onstage accomplished that with aplomb. The fairy godmother appears toward the end of the act, and was danced by the remarkable Maria Mosina, whose graceful arms never stop moving when she dances.
The sets were through the courtesy of the Texas Ballet Company, and I immediately thought that the Colorado Ballet deserves their own sets. Yes, that would be enormously expensive, but this ballet company is of the ilk that they should have them. Cinderella’s coach, which thankfully did not look like an enlarged pumpkin, was a total work of art, and the horses in special costumes, were a stroke of visual genius. In addition, the transformation of the set from Cinderella’s living room to the woods where her Fairy Godmother transforms her into a Princess was absolutely magical.
From the very outset of Saturday evening’s performance I was struck by the Colorado Ballet Orchestra. I don’t think, and I say this without exaggeration, that I have ever heard them perform better. Understand, that Prokofiev’s music, because of his highly individual style, is difficult for an orchestra to play because it is sometimes impossible to anticipate where the melodic line will turn next. But the emotion expressed by the dancers was strongly supported and reflected by the orchestra.
Act II is comprised of The Ball. The Jester, danced Saturday evening by Kevin Gaël Thomas, introduces and welcomes the arriving guests. Their reaction to the ugly stepsisters was priceless. Upon the arrival of Cinderella, she and the Prince are smitten with the immortal love at first sight. Cinderella and the Prince, danced by Viacheslav Buchkovskiy, danced a wonderful and impassioned pas de deux which was one of the highlights of the evening’s performance. These two dancers were totally superb, as is everyone in this company. I have often said, and I mean that sincerely, that every single dancer who appears on stage for the Colorado Ballet could be a soloist. The depth of quality is astounding. When the clock struck twelve, Prokofiev allows the trombones to become powerful and threatening. I’m quite sure, judged by the sound, that Maestro Flatt told the brass to sneer and growl.
Act III concerns the prince’s search for the love of his life, who completely disappeared at the end of Act II. He searches far and wide. He and his servants ask all the cobblers who made the shoe that Cinderella dropped. While he is searching, Cinderella takes the other slipper from her apron pocket, and realizes that her memories of the ball and a handsome Prince were not a dream after all. The Prince arrives at the household, and the two stepsisters try on the shoe to no avail. Cinderella helps her stepmother to try it on, and while she is doing so, the other slipper falls from her apron. The Prince realizes that he has found his princess, and the two live happily ever after.
As I have said, I have seen Prokofiev’s Cinderella several times, but this is the first time where I was so taken with the shared artistry between the orchestra and the dancers. In the forest scene, where the Fairy Godmother transforms Cinderella, the Spring Fairy, danced by Klara Houdet; the Summer Fairy, danced by Tracy Jones; and the Autumn and Winter fairies, danced respectively by Morgan Buchanan and Shelby Dyer, were strongly supported by the excellent clarinet work of Michelle Orman in the orchestra. Small details, such as the transformation of the moon into a midnight clock, added to the magic of the performance. When the guests at the ball were given oranges as special treats, the orchestra seemed to emphasize the theme for the oranges, so that those familiar with Prokofiev’s opera, The Love for Three Oranges, was clearly recognizable.
It was a magical evening in every sense of the word. The adults in the audience sat transfixed, and the youngsters in the audience laughed delightedly with the antics of the stepsisters. Everyone gasped in almost terror and surprise when the clock began to strike twelve. Saturday evening’s performance was a complete artistic amalgamation where dancers, choreographer, and musicians worked together in a convincing artistic union.
There are more performances. You must see this ballet.
Filed under: Reviews | Tags: Adam Flatt, Asuka Sasaki, Cara Cooper, Casey Dalton, Catherine Sailer, Chandra Kuykendall, Chrisotpher Moulton, Dana Benton, Domenico Luciano, Gregory Gonzales, Jesse Marks, Kevin Gaël Thomas, Lesley Allred, Luis Valdes, Morgan Buchanan, Sean Omandam, Shelby Dyer
There is very good reason why Piotr Tchaikovsky’s The Nutcracker is one of the most popular ballets ever written. It contains some of the most beautiful melodies ever composed, and it has an almost endless stream of character dances. As everyone knows, it is based on E. T. A. Hoffman’s story, as translated by Alexandre Dumas, of Clara, whose Christmas gift, the Nutcracker, comes to life. The Nutcracker, now a soldier, defeats the Mouse King with the aid of Clara, but not before the soldier is knocked unconscious. At the defeat of the Mouse King, a spell is broken, and the Nutcracker/Soldier is transformed into a handsome Prince. Intent upon showing his gratitude to Clara for saving his life, he spirits her off to a magical land of toys and candy. There, the Sugar Plum Fairy decrees that a great celebration take place in order to honor Clara. While Clara and the Prince are seated on thrones to witness the celebration in their honor, many dances take place to reward her for her bravery. At the end of the celebration, the Prince carries Clara back to her home, where she awakens with vivid memories of what has just transpired, but is also completely unsure if it was reality or if it was a dream.
Tchaikovsky followed no new paths or innovations in his compositions, yet his melodic lines are remarkably powerful even though they use traditional harmony, when compared to his contemporaries such as Wagner and Bruckner. His ballets, Swan Lake, The Sleeping Beauty, and The Nutcracker, are the most popular ballets of all time. Many potential audience members seem to avoid the Nutcracker because it is done by every dance company imaginable since it has become a staple of the Christmas season. That is truly unfortunate because the music is remarkable, and the production presented by the Colorado Ballet is superb.
From the opening, the entire company exuded a joy and enthusiasm on their way to the Christmas party that was tangible. When Clara’s godfather, Herr Drosselmeyer, appears, all of the party guests seemed to draw away from him, not from fear as in past productions, but out of a sense of respect. In Saturday evening’s production, Clara was danced by Dana Benton, who was absolutely irresistible in her childlike charm, and effortless dancing. She was truly grace personified. Herr Drosselmeyer was played by the esteemed Gregory K Gonzales who has played this role many times. However, Saturday evening, he truly excelled: he was not only mysterious and magical, but very caring towards Clara as well. Sean Omandam danced the role of Clara’s brother, Fritz, and he too was exceptional in his effortless portrayal of a somewhat bratty sibling. It is Fritz who is responsible for breaking the Nutcracker, but Herr Drosselmeyer assures Clara that all will be well. After all the guests have left the party, and the house darkens with everyone in bed, Herr Drosselmeyer begins to work his magic. In Hoffman’s story, everyone begins to grow smaller. Of course, the only way to do this on stage is to have the Christmas tree grow much taller, and, all of the toys underneath the tree become quite large. Now the Nutcracker, danced by Adam Still, is the size of the mice, as is Clara. She provides the distraction which allows the Nutcracker to slay the Mouse King. I point out that in this year’s production the Soldier Mice, and even the Mouse King, seem to have been portrayed in a more humorous vein than in the past productions, where they seemed positively evil.
The pas de deux between Clara and the Nutcracker turned Prince, was absolutely spectacular. Both Adam Still and Dana Benton are remarkable dancers, but they also possess a great dramatic sense. They not only demonstrated great confidence in their ability to dance these roles, but they demonstrated an excitement which was inherent throughout the entire performance Saturday evening.
The members of the Colorado Ballet have such versatility that they often dance different roles on the same day. For example, at the matinee performance on November 30, Sean Omandam danced the role of the soldier doll, while that evening he danced the role of Clara’s brother, Fritz. No doubt some of the alteration was done in consideration of the physical demands upon the human body. Nonetheless, I think it is remarkable the way the members of the Colorado Ballet can switch roles from day-to-day, or from afternoon to evening. Dana Benton danced Clara Saturday evening, but in the matinee performance on the same day, in Act II, she danced one of the Marzipan candies. That is remarkable concentration.
Toward the end of Act I, the Prince and Clara visit the Land of Snow. It was in this scene that the choreography seemed to be considerably different from last year. That is certainly not a criticism by any stretch of the imagination, as it was certainly beautiful to watch. The program lists additional choreography done by Sandra Brown, though most of the ballet was based on choreography done by Martin Fredmann.
Act II contains some of the most famous dances ever written. Clara and the Prince have traveled to the Kingdom of the Sugar Plum Fairy who was performed by Chandra Kuykendall. The Sugar Plum Fairy’s Cavalier was danced by a new member of the company, Domenico Luciano. As I watched Kuykendall dance Saturday evening, I was struck by the fact that she seemed to be a little careful and without her usual exuberance. In a few instances it seemed as though she might be recovering from a slight injury that may have occurred during rehearsal, but I stress that this is sheer speculation on my part. She certainly was as wonderful to watch as she always is. Her partner, Domenico Luciano was excellent, and I look forward to his performances throughout the season. He exhibited great strength which resulted in an astounding ease of movement as well as grace.
The highlights of the celebratory dances in Act II were the Arabian, danced by Shelby Dyer and Luis Valdes. There are so many lifts in this duet that one wonders how Valdes can stay in shape even though Shelby Dyer is very small. Morgan Buchanan, Cara Cooper, and Christopher Moulton were absolutely superb as the Spanish Chocolate dancers, as were Casey Dalton, Asuka Sasaki, and Jesse Marks as the Marzipan dancers, but I must give special mention to Sean Omandam, Kevin Gaël Thomas, and Lesley Allred who danced the Russian. Omandam and Thomas were so precisely together, and they jumped so high off the stage, that the audience was dazzled. The famed Dance of the Flowers was spectacular.
Grace is a word that might characterize the way the Colorado Ballet Orchestra performed. They were at times emotionally intense, more so than I have heard them before. But, more than any other performance, the orchestra and the dancers seemed to be very comfortable with each other. As I have said before, Maestro Adam Flatt and the Maestra Catherine Sailer have done wonders with the Colorado Ballet Orchestra over the past few years. They have contributed mightily to making the Colorado Ballet the well-rounded organization that it is: it is an organization where everybody contributes their fullest, and the result is wonderfully artistic and a joy to watch and hear.
As I said in the opening paragraph, there is such a good reason why this ballet is so well known. It is also equally important to understand that the Colorado Ballet never treats this performance as a cliché. All of the dancers, all of the orchestra members, and all of those involved in the production backstage, clearly worked very hard to make this the exciting and artistic performance. You must see it.
Follow this link to see the date and times of performances and to purchase tickets: http://www.coloradoballet.org/
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.