Opus Colorado


Art attained: Colorado Ballet

Every time I leave a performance by the Colorado Ballet, I am convinced that I have seen them at their best. Then comes the next performance, and I am amazed once more. Friday night, March 27, their performance at the Gates Concert Hall at the Lamont School of Music was a clear demonstration of the artistry that is inherent in all of their performances. There were two short ballets performed, one of which was quite serious and displayed the love for their art by everyone on stage, and one, which was extremely humorous, was performed for all the children that were in the audience.

The program opened with Max Bruch’s Violin Concerto in G minor, Opus 26. The first performance of this concerto was given with Joseph Joachim as soloist on January 7, 1868, and Bruch quickly achieved worldwide recognition for this marvelous work.

While the idea of a ballet done to a violin concerto may startle some of you, I can assure you that the choreography by Clark Tippett perfectly matched the music. Clark Tippett was born in 1954 in Kansas, and was made a soloist at the American Ballet Theater in 1975. He was promoted to principal in 1976. He choreographed many ballets for companies in the United States, and his choreography for the Bruch’s Violin Concerto which was premiered in 1987, attracted a great deal of attention. He died at the young age of 37 in 1992. His death, was attributed to circumstances surrounding his battle with drugs.

For those of you who did not see this performance, I can assure you that Tippett’s choreography was wonderfully full of imagination, and its relationship to the music of Bruch seemed like a true friendship, rather than an “accompaniment,” because of its artistic merit, and the obvious elation that all of the dancers on stage exhibited. I can assure you that the choreography was difficult indeed. I have seen many performances by the Colorado Ballet where in the dancers seemed to take absolute delight in their profession. At Friday night’s performance that delight metamorphosed into absolute joy. It seemed quite obvious that all of the dancers were quite moved by the beauty of Bruch’s concerto, as well as the beauty of the choreography. That seems like an obvious thing to say: certainly they appreciate their own art or they would not be involved in it. In the past, I have seen some companies where that was not communicated to the audience.

In the First Movement, after every pas de deux by Jesse Marks and Chandra Kuykendall, Asuka Sasaki and Domenico Luciano, the audience responded with great enthusiasm to their artistry and astonishing grace. The audience was truly becoming infected with the same enthusiasm that the dancers exhibited, and it was an absolutely magical thing to see. All of the dancers on stage, Morgan Buchanan, Casey Dalton, Emily Dixon, Tracy Jones, Fernanda Oliveira, Alexandra Pullen, Emily Speed, Melissa Zoebisch, Ariel Breitman, Kevin Hale, Christopher Moulton, Sean Omandam, Kevin Gaël Thomas, Luis Valdes, Kevin Wilson, and Ben Winegar, deserve mention because they were so sensational in matching the emotions and skill of the principals and soloists. That spontaneity of emotions can make a performance truly exceptional rather than excellent, and it was inherent in the performances Friday night.

In the Second Movement, Maria Mosina and Alexei Tyukov danced in several pas de deux. As I have stated before, Mosina’s arm movements are absolutely the most graceful and frond-like that I have seen. It is also very clear that Mosina and Tyukov work extremely well together because the timing and grace of their movements is something to behold. Friday evening, I must say that Tyukov’s physical strength seemed to be greater than ever: I simply could not believe the length of time that he held Mosina above his head. On the other hand, the difficulty of the choreography certainly dictates who will dance what part, and physical strength, as well as rapport and artistic affinity between the dancers is a consideration. That is something that is shared between Maria Mosina and Alexei Tyukov. They are breathtaking.

In the third movement Dana Benton and Francisco Estevez danced the pas de deux. These two dancers are, in many ways, very similar to Maria Mosina and Alexei Tyukov because of their shared like-mindedness in their artistic styles. I know that dancers have to create a certain image on stage, and many times that requires – depending on their role – that they maintain a lovely smile. However, Dana Benton is so convincing because her smile always seems to reflect the absolute joy that her art provides to her personally. She and Estevez were absolutely remarkable Friday evening, and their ability to make the most difficult choreography seem effortless never ceases to amaze me.

Following the Bruch, the Colorado Ballet performed Serge Prokofiev’s masterful Peter and the Wolf. There is hardly anyone who would not recognize the music to this ballet, as it is as well-known as Tchaikovsky’s The Nutcracker. One of the reasons for its popularity truly must be that Prokofiev, in some ways, seems to have been a child in spirit. In this ballet he appears to have had a mysterious insight into what amuses children. But realize that this story offers adults as well, a chance to escape the monotony of caution that being a grown-up dictates. I also point out that when Prokofiev came to Denver in 1938 to perform his first Piano Concerto and conduct his Classical Symphony with the then-named Denver Symphony, one of the board members took him to see Disney’s new movie, Snow White. He liked it so much that he went back to see it the next day.

The choreography for Friday’s performance was by Michael Smuin (1938-2007). He danced with the American Ballet Theatre and the San Francisco Ballet. He choreographed Broadway productions and had several films to his credit, among them, The Fantasticks.

Peter and the Wolf opens with the Narrator, delightfully done by Joey Wishnia. Wishnia is a very experienced actor who was born in South Africa, and educated at Rhodes University and Trinity College in London. He has written scripts for children’s theater and he has appeared in classical and modern plays, musical theater, opera, ballet, cabaret, reviews, and many radio and television dramas. I must say that he was an excellent choice to fulfill the duties as The Narrator.

The Narrator is assisted by a Musician who presents cutouts of musical instruments as the narrator explains, for example, that The Bird will be represented by the flute. The Musician is supposed to walk out on stage holding a flute to show the audience. However, Friday night, the Musician, wonderfully done by Francisco Estevez, comes out holding a French horn. This, of course, results in nimble wits and savage repartee on behalf of the Narrator which are followed by disrespectful looks and antics by the Musician.

Friday evening, Peter was danced by Kevin Gaël Thomas, the Bird was danced by Dana Benton, the Duck by Morgan Buchanan, the Cat was danced by Tracy Jones, the Wolf by Christopher Moulton, and Jesse Marks danced the role of the Grandfather. The hunters were danced by Ariel Breitman, Curtis Irwin, Raul Orozco, Luis Valdes, Kevin Wilson, and Ben Winegar.

I am constantly amazed at how all of the dancers in the Colorado Ballet are able to communicate with the audience, not only through their dancing ability, but through their acting ability as well. For example, all on stage were absolutely superb in their comedic roles as well as their dancing ability. Everyone not only made their dancing an art, they made their comedy and acting an art. I have seen many ballet performances where the dancing was certainly an art, but everything else was secondary. This is not the case with the Colorado Ballet.

On leaving Gates Hall Friday evening, it finally dawned on me that since Artistic Director Gil Boggs has been with the Colorado Ballet, the choice of choreographers for the ballets has steadily improved. Obviously, this has also led to the improvement of the dancers, and I stress that I do not imply the dancers were poor to begin with. I wish that all of the dancers could have heard the comments from the audience as they left the hall. Certainly, the standing ovation that was received after the Bruch and after the Prokofiev demonstrated how appreciated they were.

There is one sad note that I must communicate. Three of the finest dancers from the Colorado Ballet have announced their retirement. Dmitry Trubchanov, Viacheslav Buchkovskiy, and Jesse Marks will no longer dance after this weekend. They have contributed so much to the Colorado Ballet that it will be very difficult to see them go. I can only hope that they will continue to share their art through teaching and coaching, for that is as much an art as was their dancing. They will be sorely missed, and I wish them well. Thank you, gentlemen, for making the performances brighter with your art.



The Colorado Ballet leaves no doubt: They are one of the best in the United States

Friday evening, February 20, the Colorado Ballet gave one of its most brilliant performances. It was brilliant not only because the dancers are so good and the orchestra so fine, but because the Ballet Masterworks series is always just that: usually three short ballets – roughly 20 to 25 minutes each – are very carefully chosen by Artistic Director Gil Boggs. They are truly masterworks. They can carry that label because the choreography is excellent and because the music is magnificent as well.

The opening work was Concerto Barocco choreographed by George Balanchine with music by Johann Sebastian Bach. Balanchine was an excellent musician as well as a choreographer and dancer, and he had the reputation of being a remarkable pianist. He had extensive courses in music when he was in school. When he conceived this work, which uses the music from Bach’s Concerto in D minor for Two Violins, he was quoted as saying, “if the dance designer sees in the development of classical dancing a counterpart in the development of music and has studied them both, he will derive continual inspiration from great scores.” I came away from the performance Friday evening secure in my realization that Gil Boggs is also an accomplished musician, and agrees with the ethos expressed by Balanchine. For those of you who are surprised by the use of Bach’s music for a ballet, realize this: the one feature of every single piece that Bach wrote that stands out above all else is an underlying rhythmic pulse. And, it is that pulse that Balanchine took advantage of. Certainly, there is much in Bach’s music to take advantage of: the counterpoint, incredible grace, and continual forward movement. I also hasten to point out that Gil Boggs is aware of the fact that Maestro Adam Flatt, who conducts the ballet orchestra, has had a profound effect on the quality of this orchestra. Lydia Sviatlovskaya and Leslie Sawyer where the violin soloists for this double concerto. They were superb.

I was astounded by the very opening of this work, because the minute the curtain was up the orchestra and the dancers began their work; there was no hesitation. It was absolutely together as the curtain reached its zenith. It truly seemed to me as if Maestro Flatt was watching the curtain, and, of course, all of the dancers on stage had their eyes glued to Maestro Flatt. It had a profound effect on the audience. It was immediately obvious that Balanchine felt a remarkable kinship with the music, and the dancers on stage seem to take particular joy in dancing to his choreography. The most astounding feature of their dancing came in the last movement, where Bach wrote many 16th note passages. The dancers were required to use a step which seemed to me to be a combination of a frappé and a bourée. I have never seen that step before, and I’m quite sure that it has a name, but it was incredibly difficult and every dancer on stage was precisely together with the orchestra and with each other. It was a breathtaking demonstration of the ability of these dancers. However, truly, the most amazing aspect of the performance of this work was the fact that Balanchine’s choreography, and the skill of the dancers on stage, made Bach’s wonderful double concerto truly fit ballet. It was as if Bach had written this work as a ballet. I am sure that he would be amazed if he could have seen this performance.

Sharon Wehner, Maria Mosina, and Alexei Tyukov, were truly sensational. The dancers in the core, Morgan Buchanan, Casey Dalton, Emily Dixon, Tracy Jones, Fernanda Oliveira, Alexandra Pullen, Emily Speed, and Melissa Zoebisch were marvelous. All of these dancers “fit” the choreography to the extent that I cannot imagine a performance using any other dancers.

The second ballet on this program of three was a work entitled In Pieces, which was given the world premiere by the Colorado Ballet on February 22, 2013. The title comes from a work entitled Concerto in Pieces by Danish composer, Poul Ruders (b. 1949). The work was commissioned by the BBC for the 300th year of the death of English composer Henry Purcell, and the 50th anniversary of Benjamin Britten’s Young Persons’ Guide to the Orchestra. The choreographer of this ballet is Val Caniparoli who, in an interview that is still available on the Colorado Ballet’s website, states that he specifically wanted the dancers in the Colorado Ballet to give the world premiere of this work. That should say something about the skill and artistic ability of these dancers, as well as the entire organization. Caniparoli, in the interview, states that he was very excited by the ability of these dancers, as well as having a live ballet orchestra at his disposal. He admired the versatility of these dancers because they are always “willing to try something new and they love challenges.” He also had a great affection for the orchestra’s ability.

From the outset, it was very clear that this is an incredibly difficult ballet. The rhythm is very complicated, and quite often the tempos, at least to me, seemed to be extreme. Asuka Sasaki, Domenico Luciano, Chandra Kuykendall, Jesse Marks, Sharon Wehner, and Christopher Moulton, were the soloists in this ballet, and I was left speechless (again) by their remarkable ability. The music itself has many instances wherein I was reminded of John Cage. There was what I can only describe as thorough use of percussion instruments in this ballet, which is one of the reasons I was drawn to the comparison with Cage. Douglas Walter, Scott Higgins, Mark Foster, Paul Milliken, and Carl Dixon are the percussionists in the Colorado Ballet Orchestra, and they are excellent. In addition, there was a marvelous tuba solo, and Michael Allen came wonderfully close to making the tuba sound like a cello.

The music and the choreography in this work were incredibly dramatic. The movements and steps that the dancers were required to make were quite new to me, and I am quite sure that Caniparoli invented them out of necessity in order to fulfill his spectacular concept of the music. And, there again, I have mentioned a choreographers concept of movement that the music requires. Many audience members who are not totally familiar with ballet and all of its artistic intricacies are under the impression that a choreographer somehow separates movement from the music, and only picks the music once he or she has the choreography in mind. I hasten to point out that in the mind of a choreographer, the movement and the music cannot be separated: they are conceived simultaneously. I encourage all of you to go to the Colorado Ballet website and listen to the interview with Caniparoli. It will shed much light on the process of such a complicated procedure. It also shows how much respect Val Caniparoli has for the Colorado Ballet.

Following In Pieces, the Colorado Ballet performed Fancy Free, choreographed by Jerome Robbins to the music of Leonard Bernstein. The set design for this work was absolutely terrific. One could easily tell that it was in the heart of New York City, for that is where this short ballet takes place: on a hot summer evening in 1944, with three sailors looking for relief from their military duty. As a matter of fact, this work was premiered on April 18, 1944. It concerns three sailors who find themselves in a pickle because they meet only two girls. There is a marvelous pas de deux which was danced by Dana Benton and Francisco Estevez. But when I mention them, you must realize that Kevin Gaël Thomas, Jesse Marks, and Shelby Dyer were excellent as well. It is that fact that sets this ballet company so far above many others that I have seen. I have stated many times, and it is my sincere belief, that every member of this ballet company is a truly fine artist. In the plot of this ballet. Each of the sailors performs a solo dance to attract one of the two girls they have met. The girls can’t decide who they wish to pair up with, so the three sailors promptly engage in a fight. While they are fighting the two girls disappear. The three sailors eventually noticed this, renew their friendship with another drink, and leave the bar for the sidewalk. There, they promptly meet another beautiful girl, danced by Tracy Jones, and they follow her with great enthusiasm.

Estevez, Thomas, Marks, Dyer, and Benton, are not only truly fine ballet artists, they are skilled actors as well, and they injected this ballet with humor as well as a certain amount of pathos. That fact always seems to surprise many individuals who are not familiar with ballet, as they seem to be unaware that a ballet can express so many different emotions.

This ballet company approaches every single production as if it were a theatrical play set to music with incredibly thought out and descriptive movement. Gil Boggs, Adam Flatt, Catherine Sailer, along with Sandra Brown and Lorita Travaglia, have changed this Colorado Ballet into a remarkable artistic organization by demonstrating to the dancers and the musicians that artistry and dedication are rewarded. It is clear that all of the dancers are artists just as all of the orchestra member are artists, and they have the support of the leadership and the Board.

There was a standing ovation Friday night by an audience that was too small. Certainly, many people stayed home in fear of the weather, but those who stayed home are the ones who lost the advantage of seeing three honest Masterworks of Ballet.



Colorado Ballet: The most wonderful “Nutcracker” I have seen.

Saturday evening, November 29, I attended the Colorado Ballet’s production of Tchaikovsky’s The Nutcracker. The many times that I have seen it previously includes productions by ballet companies at different universities and professional ballet companies in the Midwest and East Coast. Honestly, I do not recall how many times I have seen this ballet, but I can tell you that the performance I saw Saturday evening was absolutely the best I have ever seen performed. You readers who have not seen this ballet must understand that the reason for its popularity is the fact that it is one of Tchaikovsky’s best ballets, and one of the best ballets ever written. The orchestra score is sensational. Also, realize that Tchaikovsky was one of the greatest ballet composers, and there are many moments in his symphonies where it seems as if he had ballet in mind. Its popularity does not diminish his art, and when it is performed by such an outstanding ballet company, Tchaikovsky’s art is ensured.

Colorado Ballet has always done a superb job with this seasonal offering, but it truly seems to be getting better and better over the years. Saturday evening’s performance clearly gave the impression that this was the first time they had ever done it. Why? Because everyone on stage and in the orchestra pit seemed to be thoroughly excited, and in the grasp of the music and the choreography, which was written by Martin Fredmann and Colorado Ballet’s own Sandra Brown. In addition, the staging, which is so incredibly significant, was completed by Lorita Travaglia and Sandra Brown.

It is wonderful to see this ballet every year because Maestro Gil Boggs, the Artistic Director of the Colorado Ballet, re-casts the performance from year-to-year. Each dancer has his or her own specific take on the personality of the characters that they are depicting in E.T.A. Hoffman’s story. In Saturday evening’s performance, Dana Benton danced the role of Clara, and Jesse Marks danced the role of the Nutcracker Prince. Both of them were superb. I might add with all sincerity that Gregory K. Gonzales was absolutely perfect in every way in his role of Drosselmeyer, the mysterious, but kind, owner of the toyshop who gives Clara the Nutcracker for a Christmas present at the Christmas party.

After the Christmas party, Clara seems to fall asleep, but she is under the spell of Herr Drosselmeyer, who makes the Christmas tree grow to tremendous size along with all the presents beneath it (In the original E.T.A. Hoffman story, it is Clara who shrinks so that she becomes the same size as the Nutcracker.). The Nutcracker, now life-size, comes to life with his contingent of soldiers. They do battle with the mice, and Clara saves the day when she distracts the Mouse King long enough for the Nutcracker to win the battle. The Nutcracker then becomes a handsome prince who takes Clara on a fabulous journey. The pas de deux which Dana Benton and Jesse Marks performed at the end of the Act I was stunning, as were the Snowflakes with whom they danced.

Throughout the entire ballet, the Colorado Ballet Orchestra reflected the same excitement and wonderful precision as the dancers on stage. The orchestral part has always struck me as being incredibly difficult, but you must understand that in Maestro Adam Flatt and Associate Conductor Maestra Catherine Sailer the orchestra has leadership that they willingly respond to in every way because of their leaders’ artistry. Saturday night, they gave Maestro Flatt everything he asked for. Most notable was the incredible dynamic range. There were many times when the orchestra was so soft that one had to be intent to listen, and I guarantee you that added to the expressiveness of the performance on stage as well as in the pit.

Act II takes place in the Kingdom of the Sugarplum Fairy where Clara and her Prince are entertained by dancers from throughout the kingdom. Spanish dancers, Arabian dancers, a Chinese dancer with his Dragon, Marzipan, Russian, Dew Drop, Flowers, and, of course, Mother Ginger.

For those of you who have not seen this ballet, Act II contains some of the most difficult dancing in the ballet. Tracy Jones and Kevin Wilson as the Spanish dancers were remarkable in their sensuality. Chandra Kuykendall and Domenico Luciano, the Arabians, were absolutely superb. And I am still stunned at the physical strength that both of these dancers have. Francisco Estevez seemed to really be enjoying himself in his role of the Chinese Dancer, and, even though his role was one of humor, he exhibited an abundance of grace. Sean Omandam, Kevin Gaël Thomas, and Ryan Lee were spectacular as the Russian dancers who dance the Trepak. I began to wonder at the length of practice time their performance took. This has to be one of the most difficult dances in the ballet, if not the most popular. Asuka Sasaki was grace personified as Dew Drop.

Notice that I used the word grace. That word is seldom used in combination with the word precision, but that is what personified the entire performance. Even the humorous Mother Ginger had grace, and, of course, all of the Flowers, Sugarplum Attendants, Angels, and the Polichinelles.

Maria Mosina and Alexei Tyukov performed some of the most beautiful dancing I have ever seen them accomplish. Their pas de deux was so remarkably sensitive emotionally that it took my breath away. In addition, it demonstrated remarkable trust (which all ballet dancers must have) in each other’s ability and strength. For example, when Mosina stood in the palms of Tyukov’s hands, which he was holding at his waist, there was never a hesitation or waiver on either dancer’s part. They simply did it with remarkable grace and aplomb. Yes, I know that’s what ballet dancers are supposed to do, and, that is another aspect that makes ballet dancing so remarkably difficult. But the audience was left breathless. And please include me.

I have seen many reviews of The Nutcracker in which it is described as “family entertainment” rather than an adult ballet or a ballet for children. Describing The Nutcracker in that manner seems, to me, at least, to cheapen its value as a work of art. It also denigrates its difficulty in performance. There is absolutely nothing easy in this ballet for the dancers, or for the orchestra, or for the conductor who must constantly be vigilant to make sure that he is taking the proper tempo as discussed with the dancers during rehearsal. Maestro Adam Flatt must follow their every move with his baton, and he must never let the smallest amount of ego interrupt his collaboration with the dancers on stage. Saturday evening the collaboration between the orchestra and the dancers was absolutely seamless. I hasten to point out that this seamlessness did not surprise me at all. Everyone involved is a consummate artist.

That is what makes The Nutcracker, especially performed by the Colorado Ballet, such a wonderful artistic experience.

Please take a look at all of the remaining performances of this great ballet. Surely, you can attend one.

Saturday, November 29, 2014 at 1 p.m.
Saturday, November 29, 2014 at 6:30 p.m.
Sunday, November 30, 2014 at 1 p.m.
Saturday, December 6, 2014 at 1 p.m.
Sunday, December 7, 2014 at 1 p.m.
Thursday, December 11, 2014 at 7:30 p.m.
Friday, December 12, 2014 at 7:30 p.m.
Saturday, December 13, 2014 at 1 p.m.
Saturday, December 13, 2014 at 6:30 p.m.
Sunday, December 14, 2014 at 1 p.m.
Sunday, December 14, 2014 at 6:30 p.m.
Thursday, December 18, 2014 at 7:30 p.m.
Friday, December 19, 2014 at 7:30 p.m.
Saturday, December 20, 2014 at 1 p.m.
Saturday, December 20, 2014 at 6:30 p.m.
Sunday, December 21, 2014 at 1 p.m.
Sunday, December 21, 2014 at 6:30 p.m.
Monday, December 22, 2014 at 6:30 p.m.
Tuesday, December 23, 2014 at 1 p.m.
Wednesday, December 24, 2014 at 1 p.m.
Friday, December 26, 2014 at 1 p.m.



Terrifying evil and sublime artistry: Colorado Ballet’s Dracula

Halloween night, Friday, I attended the opening performance of the Colorado Ballet production of Dracula. As artistic director, Gil Boggs, states in the program, this is one of the most “theatrical ballets ever performed by the Colorado Ballet.” It certainly is, and you readers must understand that this is not a ballet for young children. The reason for that is that the dancers are so expressive in their presentation of fear, mystery, loathing, and gruesome characterizations that it would give them nightmares for months. This is not just a fun, scary night. It is an adult ballet done in all seriousness, and presented in a very serious way.

I have seen this ballet performed by this fine organization previously to this performance, but this was, by far, the best performance of Dracula that the Colorado Ballet has given. It was completely driven by energy: not just the dancing, but the musical score as well. The Colorado Ballet Orchestra, under the direction of Maestro Adam Flatt, was just as driven as were the dancers.

The choreography for this ballet was done by Michael Pink who certainly has to be one of the finest choreographers today. I will quote briefly from the bio statement on his website:

“Michael Pink is an internationally acclaimed Choreographer and Artistic Director.

“Michael began his tenure as Artistic Director of Milwaukee Ballet Company in December of 2002. Since that time, he has established himself as a prominent member of the Milwaukee arts community, demonstrating his commitment to the future of dance through new work, education and collaboration. He is perhaps best known for his creation of full-length narrative dance works Dracula, The Nutcracker, Swan Lake, Giselle 1943, Don Quixote, The Sleeping Beauty, Coppelia, Cinderella, Romeo & Juliet, Peter Pan and La Bohème. His love of the theatre and music is evident in all his work, he believes in exploring the theatrical values of his work through all elements of the production. His work has a wide audience appeal and helps foster a greater understanding and appreciation of dance.

“His talent for choreography was first noted and encouraged by Dame Ninette de Valois and Sir Frederick Ashton. His early choreographic work won him first place in the inaugural Ursula Moreton Choreographic Competition He was invited by Sir Frederick Ashton to assist in choreographing the Anacat Fashion Show for HRH Princess Margaret. He left the Royal Ballet School in 1975 after being invited to attend the first Gulbenkian Choreographic Summer Program as one of eight choreographers and composers, lead by Glen Tetley, Mary Hicks and Dame Peggy van Praggh.

“Michael has established himself as an International Teacher with, amongst other companies the Norwegian National Ballet, Aterballetto, Balleto di Toscanna Italy, The Hartford Ballet U.S.A. Rozas Dance Company, London Contemporary Dance Company, Ballet Rambert, The White Oaks Dance Project, English National Ballet, Phoenix Dance Company and London City Ballet.”

The program notes state that Michael Pink often relies upon the English composer, Philip Feeney, to provide the musical score for his ballets. The production of Dracula certainly makes that clear simply because the choreography and the music fit so closely together that they seem to be inseparable. It is difficult to imagine which came first: the energy of the choreography, or the energy of the musical score.

I will quote briefly from Feeney’s biography:

“Composer and Pianist, Philip Feeney (b.1954), studied composition at the University of Cambridge with Robin Holloway and Hugh Wood, and later with Franco Donatoni in Rome at the Accademia di Santa Cecilia. He is best known for his work in dance, which he first encountered in Italy and has since worked with many companies, including Northern Ballet Theatre, Rambert Dance Company, the White Oak Project and the Martha Graham Company. He has collaborated with many choreographers including Michael Pink, Didy Veldman, Michael Keegan-Dolan, Derek Williams, David Nixon, Adam Cooper and Sara Matthews, and his works have been performed by dance companies as diverse as Northern Ballet Theatre, Rambert Dance Company, Cullberg Ballet, Boston Ballet, Fabulous Beast, Scottish Dance Theatre, in addition to more than forty works for Ballet Central.

“Clearly inspired by image and movement, Feeney’s output is remarkable, apart from anything else, for its range and scope. Extending from full-length orchestral ballet scores to electro-acoustic soundscapes, even to jazz and hip hop scores, his works exhibit a capacity for making style work for him, by reinventing past styles in a post-modern way. For him, the crucial thing is that music for dance needs to make sense as pure music at all times. It needs to have that kinetic musicality and parallel logic that makes one feel that the music is right, and that it is the only possible music that could work for that particular choreography.

“From 1991-95 he lectured in composition at Reading University. He is currently composer in residence for Ballet Central and has been a longstanding accompanist at the London Contemporary Dance School.”

The momentum that is provided by Feeney’s musical score simply must be heard to be believed. It is extremely difficult for the orchestra, and that difficulty never goes away. The orchestra successfully conveys the impression that they are consumed by the energy of the choreography, and it is remarkable to watch the mutual support that the dancers and orchestra share. This kind of interchange is only possible if both the dancers and the orchestra share a common artistic goal, and that is possible only if everyone concerned is an artist. And, that is but one of the features that places this dance company at such a very high level.

Friday evening, Domenico Luciano danced Dracula. In this role, he was icy and cold and so dreadfully menacing that one never knew what was coming next. He toyed with his victims in the ballet, pretending to give them freedom, but always pulling them back into the hell that he created. He was very convincing as he slithered through the railing of a staircase and across the stage. He provided a palpable conflict between his own evil world, and the world of Harker and Mina which was one of purity and innocence.

Chandra Kuykendall, one of his victims, generated one of her finest roles as Lucy, and her dancing Friday evening was one of the finest performances I have seen her give. Anguished and lost to Dracula’s power, eternally doomed because of Dracula’s bite, she was constantly torn between wishing to escape from him and always being pulled back to him by his magnetic force. In a terrifying scene, she is covered with blood as she lures a small child to her death.

Jesse Marks danced the role of Renfield, a character whose complete insanity drives him to lick blood from the floor and consume flies and spiders. As long as he maintains his allegiance to Dracula, Dracula will keep him fed with the insects he constantly devours. Marks was incredibly and horrifyingly convincing in this role. He danced a beautiful pas de deux with Maria Mosina, while he was in a straitjacket, rolling Mina off his back and around his body without the use of his arms. He tries so desperately hard to warn Mina of the evils of Dracula, and yet he is tied by Dracula’s spell.

Maria Mosina danced the role of Mina, and her dramatic skill and acting ability gave this character a wonderful sympathetic and compassionate persona, which emphasized the evilness of Domenico Luciano’s portrayal of Dracula. Luciano and Mosina both displayed an incredible strength as well as grace in their performance. Viacheslav Buchkovskiy, as Harker, created the same persona of innocence in the role of Mina’s husband.

I have described these characters in this way, because the dancers in this company were so skilled in portraying the essence of each of them. It was terrifying to see Chandra Kuykendall crawling backwards on the stage to hide under rocks with smoke billowing from them. It was terrifying to see how Dracula toyed constantly with his victims. And the remarkable acting ability of Gregory K. Gonzales made it appear that he was the only clearheaded individual on the stage. He knew, without a doubt, how to defeat Dracula, and that knowledge kept him from being consumed by Dracula’s power.

In Act III, there is a terrifying scene in which the doors of the burial vaults of the Undead open at the sound of Dracula’s beating heart, and they crawl from their crypts, covered with the blood of Renfield who has been sacrificed by Dracula. I might add, that during the curtain call at the end of the ballet, the Undead adhered to their persona.

Lorita Travaglia directed this production and David Grill provided the lighting. It is clear that both of these individuals shared an obvious agreement as to how this production should be done. And I must say that Gil Boggs, the Artistic Director of the Colorado Ballet, has expanded (demanded?) the dancers dramatic and theatrical ability which has resulted in a ballet company whose dancers are the most expressive I have seen. And again, I feel stymied by the fact that there is simply not room enough to list every dancer by name. But the Villagers, both male and female, were absolutely astounding in the first act as they danced their sacrificial dance that would protect them from the dangers of All Souls Night. It always astounds me that many of the dancers in this ballet company can dance more than one role in one performance, for example Morgan Buchanan dances the role of a Female Villager, a Distraught Woman, a Well-To-Do Lady, and one of the Female Undead. To me, that seems like running from section to section in an orchestra, and playing a different instrument in each movement of, for example, a Mozart Symphony.

As I mentioned above, the Colorado Ballet Orchestra was sensational. Adam Flatt demands such perfection from the orchestra, and the orchestra seems to be so eager to provide that for the dancers. Of course, that’s what a ballet orchestra supposed do, but, in this case, it seems to be done so unhesitatingly and so thoroughly that in the performance, I have never been overly conscious of orchestral entrances: the support is always there for the dancers; it is never misplaced, and it is supremely expressive.

I might add that the sets in this ballet were extremely well done. I could not find in the program if the sets were owned by the Colorado Ballet or not, but I hope they are, for this ballet company now has the room in their new building to store and maintain sets.

Dracula will be performed tonight, Saturday, and tomorrow on Sunday. You must to go see this performance. You will be amazed at how expressive a ballet can be, and how your attention will be held by these wonderful dancers who possess such incredible acting ability.



Artistry and hilarity: The Colorado Ballet’s A Midsummer Night’s Dream

Friday evening, September 26, I attended the opening night of the Colorado Ballet’s performance of A Midsummer Night’s Dream with the music of Felix Mendelssohn. This is a marvelous ballet that combines humor, love, and magic spells, in one of the most appealing ballet’s ever created. The choreography is by Christopher Wheeldon (George Balanchine also choreographed this ballet), and it is important to note that the Colorado Ballet gave the World Premiere of Wheeldon’s choreography when they performed this in 1997. Christopher Wheeldon (b. 1973) is an English choreographer who began his career with the Royal Ballet in London in 1991. In 1993 he joined the New York City Ballet and was named a soloist in 1998, all the while writing choreography. Notice the dates involved. Wheeldon was only 24 when he choreographed this ballet. Also, consider that when Felix Mendelssohn wrote his famous overture to A Midsummer Night’s Dream, which became one of the most famous overtures ever written, he was only 17 years of age.

Several years ago, I attended a performance of this ballet with Balanchine’s choreography. I must say that I prefer Wheeldon’s choreography, because it lends itself more easily to the spirit of Shakespeare’s play, even though some aspects of the original play were not used by Wheeldon.

The performance Friday evening certainly made me sit up and take notice – once again – that this ballet company is comprised of some of the most expressive dancers that I have seen. The rampant confusion caused by the character Puck, danced by Sean Omandam, in this ballet was hilarious. It was truly refreshing to hear the audience respond at the humor in this ballet, because many individuals go to the ballet and sit there stone-faced, afraid to laugh at such an artistic event. Watching brave Sean Omandam fly through the air, suspended by wires attached to the flying machine in the ceiling of the stage, was a treat in itself as he dispensed his fairy dust and magic spells to all the creatures below him. Another performance that caught my eye Friday evening was Asuka Sasaki who danced Peaseblossom, an attendant to Queen Titania. She was positively liquid on stage, and very expressive.

There is a remarkable complexity to the plot of this story. Hermia, danced by Dana Benton, is in love with Lysander, who was danced by Viacheslav Buchkovskiy. However, Demetrius, danced by Jesse Marks is in love with Hermia, but, of course, she does not return his feelings. Helena, danced by Sharon Wehner is in love with Demetrius, and she follows him constantly as he tries to chase her away. Hermia and Helena have a rousing fight as they chase each other across the stage. In the end, Puck waits until everyone is asleep, then places a magic flower on the lovers’ eyes. They wake up, and discover that all is well: Demetrius loves only Helena, and Hermia loves only Lysander. The second act of this ballet is primarily the double wedding of Hermia and Lysander, and Demetrius and Helena. There is far more actual dance in this act then there is a dramatic acting.

It was quite something to see the ever-graceful Maria Mosina, who danced Titania, fall in love with Bottom even though he has been turned into a donkey. She displayed such a wonderfully comic nature in her relationship with Bottom, portrayed by Gregory K. Gonzales. Again, Puck has caused this problem, but he comes to the rescue and releases Bottom from his spell, and Queen Titania falls back in love with King Oberon who is danced by Alexei Tyukov. Much of the humor of the story comes from the fact that it is so confusing, and even the dancers as part of their character, portray the confusion amongst themselves. The acting ability of the dancers was absolutely outstanding.

In one scene, Queen Titania, danced by Maria Mosina, is sung to sleep by the fairies, the Colorado Children’s Chorale was augmented by sopranos Amanda Balestrieri, and Ana Spadoni. I must say that these two fine sopranos seemed to be just as excited to perform in the ballet as the youngsters who comprised the Children’s Chorale. The young people from the Colorado Ballet Academy were delightful and charming to watch. Saige Ju, who performed as the Changeling attendant to Queen Titania was absolutely perfect. All of the young people had such remarkable stage presence that they all seem to be headed for a career in ballet.

The dancers in Friday’s performance, Alexei Tyukov, Sharon Wehner, Dana Benton, Jesse Marks, Viacheslav Buchkovskiy, Domenico Luciano, Asuka Sasaki, and Shelby Dyer were all superb. But in listing these names, I have run up against an enormous problem: there is not room in this article to name everyone who appeared on stage. Gil Boggs, Sandra Brown, and Lorita Travaglia have put together a wonderful assemblage of dancers. In Friday’s performance, it was so obvious that a new spirit has taken over the Colorado Ballet.

The costumes were excellent. Many came from the Boston Ballet Company as well as the Orlando Ballet. The set came from Ballet West and was designed by Adam Skulte.

Even the Colorado Ballet Orchestra, under the direction of Maestro Adam Flatt, seemed to be inspired by a new spirit. There was a wonderful spontaneity and precision in Friday’s performance, particularly in the dynamic range demonstrated by the musicians. Both Flatt, and Associate Conductor, Catherine Sailer, have had a profound impact on the Colorado Ballet Orchestra. Friday evening there was a new spark from the orchestra which was clearly evident to the audience.

The leadership that Gil Boggs has shown as Artistic Director, and the artistic ability of all of the dancers, has been rewarded by the awareness and support of the Board of Directors. Their new building on Santa Fe Street is a reflection of the fact that the Colorado Ballet’s evolution has been irrevocable in every artistic respect, and that this evolution has resulted in a national standing. The new building has eight studios, two of which are the size of the Ellie Caulkins’ stage. It has facilities for the Academy students to do their school work with tutors available, so that they may be immersed in ballet as they do their studies. There is a Black Box Theater to provide an extra dimension of performance. And, there is also adequate office space for the staff, and much, much more. As I have said before, the Colorado Ballet has become a very robust and artistic organization that can stand with any other ballet company in the United States. We need to support it, and we need to show our appreciation not only to the artistic leadership of the Colorado Ballet, and the musicians, but to the Board of Directors for their recognition of the artistic accomplishments and the needs of this fine ballet company.



Art and the art of communication: The Colorado Ballet

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.



“Traveling” through beauty with the Colorado Ballet

I always look forward to the Colorado Ballet’s series, which they have entitled Ballet Director’s Choice. Instead of one ballet being performed, the Colorado Ballet performs three short ballets, usually thirty minutes for each work, that have, for various reasons, caught the attention of the Colorado Ballet’s Artistic Director, Maestro Gil Boggs. The performance of these three ballets, in the last few years, has been done at Gates Hall in the Newman Center on the DU campus. While I certainly enjoy going to see the Colorado Ballet at the Ellie Caulkins Opera House, I truly enjoy seeing the Ballet Director’s Choice done at Gates, because the three short ballets seem more personal and intimate. In addition, there are no sets or scenery, so it gives the audience the opportunity to concentrate on just the dancing, and that is a real joy because everyone in this ballet company is a true artist.

The Ballet Director’s Choice opened with the ballet Feast of the Gods, choreographed by Edwaard Liang, and music by the Italian composer, Ottorino Respighi (1879-1936). This particular short ballet was inspired by the history of the band of traveling Gypsies, which certainly reminded me of Respighi’s travels around the Italian Peninsula on a bicycle in his youth. The particular composition of his that Liang used for the ballet is Ancient Aires and Dances, which resulted from Respighi’s interest and knowledge in sixteenth and seventeenth century Italian music. Respighi was also a noted musicologist, linguist, and conductor.

The choreographer Edwaard Liang joined the New York City ballet in the spring of 1993. He has won many awards for his ballet work as a dancer, and after he became a member of the well-known Nederlands Dans Theater 1, he choreographed and staged ballets as well as dancing in them. He has danced and choreographed ballets for many companies: the Kirov Ballet, Pacific Northwest Ballet, the Joffrey Ballet, and many others. I truly believe he is one of the most imaginative choreographers that I have had the pleasure to see.

His choreography in Feast of the Gods is absolutely sensational. It is remarkably fast-paced and extremely complex, and that carries throughout the entire work and applies to all of the dancers onstage. I have never been so aware of how the choreography of a ballet can unify the work as a whole. Chandra Kuykendall and Alexi Tyukov danced a spectacular pas de deux Friday evening. It required so much energy that Liang, through his demanding choreography, gave a very clear demonstration of not only the artistry of these two individuals, but their athletic ability as well. And that certainly applies to Sharon Wehner, Dmitry Trubchanov, Shelby Dyer, Luis Valdes, Dana Benton, Christopher Ellis, the wonderful Asuka Sasaki, Klara Houdet, and certainly, Jesse Marks. The point of mentioning all those names is not just that they deserve it, but to help explain to you readers who have not seen the Colorado Ballet, that this company is comprised of stellar performers, every one of whom is an artist. The movements choreographed by Liang require so much attention to detail from the dancers that it is astounding to watch. It made me wonder if there is not an entirely new vocabulary to describe the new contemporary movements. For example, is the term “de Côté” still used to indicate a sideways movement, when there is so much other movement combined with it?

The next work on the program was entitled Traveling Alone, choreographed by Amy Seiwert, who used music written by Max Richter. Ms. Seiwert danced with the Smuin, Los Angeles Chamber and Sacramento Ballet’s, and she eventually became the Choreographer in Residence with the Smuin after she retired from dancing in 2008. “She also directs Imagery, which is a contemporary ballet company that collaborates with artists of other disciplines” (Quoted from the program notes). She often receives commissions from other ballet companies in the United States.

Max Richter, whose music was used for this ballet was born in Germany in 1966, and studied at the Royal Academy of Music in England, as well as studying at the University of Edinburgh. He also had composition lessons with the famed Italian composer, Luciano Berio in Florence, Italy.

Dana Benton and Jesse Marks were the soloists in Traveling Alone. Dana Benton has danced this role before, and she has a great dramatic sense in portraying someone who is totally alone. Both Dana Benton and Jesse Marks were sensational Friday evening, but after the curtain went down, I sat for a moment wondering if I had ever seen Jesse Marks perform as well as he did Friday evening. He was absolutely stunning. He seemed thoroughly comfortable in everything that he did, and it was also clear that Dana Benton was treating this ballet as an old, and well remembered, friend. The choreography in this ballet was just as fast-paced as in Feast of the Gods, but not quite as complex as the Liang. Chandra Kuykendall, Christopher Ellis, Shelby Dyer, Sean Omandam, Caitlin Valentine-Ellis, and Sharon Wehner, were also in this production. All of these dancers imbued their movements with a searing intensity that was absolutely startling. It seemed that they filled their performance with a sense of irrevocability, so that if anyone got in their way, the dancers would simply run them down. I could not help but notice that during this performance, the audience never made a sound, so rapt was their attention.

The third work on the program was entitled The Last Beat, and it was choreographed by the Colorado Ballet’s own Sandra Brown. She has vast dancing experience, and a great deal of choreography experience. For the American Ballet Theater, she choreographed her own ballet, Synchronicity, and she has assisted in choreographing The Nutcracker, Coppélia, Swan Lake, and she was chosen by Mikhail Baryshnikov to choreograph for the American Ballet Theater Choreographic Workshop. And, as all you readers know in 2006 she joined her husband, Gil Boggs, to work with the Colorado Ballet as a Ballet Mistress.

Her ballet, The Last Beat, is, as the program notes state, “Dedicated to those who are serving our country and for those who are waiting for them to come home.” One has the distinct feeling that the title of Brown’s ballet refers to the last beat of a dying soldier’s heart, rather than have anything to do with the inherent rhythm of the ballet. The music that she chose for her work was by DeVotchKa. DeVotchKa is, of course, a four-piece multi-instrumental and vocal ensemble. They take their name from the Russian word meaning “girl”. Based in Denver, Colorado, the quartet is made up of Nick Urata, who sings and plays theremin, guitar, bouzouki, piano, and trumpet; Tom Hagerman, who plays violin, accordion, and piano; Jeanie Schroder, who sings and plays sousaphone, double bass, and flute; and Shawn King, who plays percussion and trumpet.

The male dancers were dressed in camouflage, while the female dancers wore translucent skirts with an underskirt of a different color. There were five movements to this work, which sometimes used different dancers in each movement. Appearing for the first time Friday evening were Maria Mosina, Domenico Luciano, Kevin Wilson, Tracy Jones, Francisco Estevez, Kevin Gaël Thomas, Morgan Buchanan, and Lesley Allred. I apologize if I have left out anyone’s name, but this ballet required a very large cast, all of whom appeared together in the last movement. The name of the first movement was The Alley; movement two, All the Sand in the Sea; movement three, How It Ends; the fourth movement, Exhaustible; and movement five, The Last Beat of My Heart.

I was again taken by surprise at the drama and emotion that every dancer onstage communicated to the audience. For sheer impact, Maria Mosina, Domenico Luciano, and Asuka Sasaki were startling. But you must understand that the Colorado Ballet, as I have said so many times before, has such incredible depth that it is very difficult to say one is better than the other. However, Friday evening, in this ballet, it was Mosina, Luciano, and Sasaki who made me take notice. They were fluid, dramatic, and yet very graceful in their drama.

The one thing that I question about The Last Beat was the choice of music. Clearly, a choreographer chooses music to work with because of its rhythmic element, and because it must suggest something specific to the choreographer. Keep in mind that quite often music used by a choreographer has not necessarily been written for use in a ballet unless it was specifically commissioned for that purpose. The music by DeVotchKa made use of Nick Urata’s singing, and I found myself wondering if it was the text that helped Sandra Brown’s choice in using DeVotchKa. I, for one, could not understand anything that was being sung except for scattered words and phrases here and there. Therefore, the text of the song had no meaning for me. The rest of the music used, perhaps, three or four chords, which lent itself to a kind of minimalist feel, but did not carry the subtleties and complexities found in the music of Phillip Glass or Arvo Pärt. Certainly, there was a steady beat and constant rhythmic pattern. And, certainly, the dancers onstage had no difficulty following that beat. The choreography in this ballet was so excellent and imaginative, that I was left wondering about the choice of music.

The Colorado Ballet once more demonstrated that they are one of the best ballet companies in the United States. Their depth, their excellence, and the inherent art in everything they do are remarkable. Their dedication shows, and the audience reaps the rewards.




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