Opus Colorado


“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.



The Colorado Ballet’s Cinderella: Artistry and Magic

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.

Thu 2/20/14 6:30PM: Ellie Caulkins Opera House
2014 Cinderella More Information Purchase
Fri 2/21/14 7:30PM: Ellie Caulkins Opera House
2014 Cinderella More Information Purchase

Sat 2/22/14 2:00PM: Ellie Caulkins Opera House
2014 Cinderella More Information Purchase

Sat 2/22/14 7:30PM: Ellie Caulkins Opera House
2014 Cinderella More Information Purchase

Sun 2/23/14 2:00PM: Ellie Caulkins Opera House
2014 Cinderella More Information Purchase



The Colorado Ballet: A demonstration of depth in excellence

Friday evening, October 4, was the Colorado Ballet’s 53rd season opener. There was so much that seemed new Friday evening: there were new faces on the stage, there are new names on the board, the Colorado Ballet has a new home which they will move into next year, and there was a brand-new enthusiasm displayed by the dancers onstage. As everyone knows, Gil Boggs was made artistic director of the Colorado Ballet during the 2006 – 2007 season. He has changed the Colorado Ballet very dramatically every year since he has held that position, and there is absolutely no question that the Colorado Ballet is one of the best ballet companies in the United States. It is certainly time for an organization of this caliber to have a new home, and not only do they deserve our congratulations, they deserve our continued support.

They opened this year’s season with Giselle written by Adolphe Adam (1803 – 1856). He was a prolific composer of ballets, incidental music, comic operas, and even vaudeville. This seems most unusual considering the fact that his father was a pianist and teacher; however, his father encouraged him only to become a musician if he learned that music was only amusement (!) not an art, and certainly not suitable for a career. His father finally changed his mind and permitted Adolphe to enter the Paris Conservatory. Keep in mind, that at this time, in France, musical plays, trite operas, and music written for the entertainment of the masses was extremely popular, and remained so for a number of years, much to the consternation of composers such as Hector Berlioz (who wrote much about French music in the Journal des Débats), Georges Bizet, and Théodore Gouvy. To find seriously composed concert music, one had to go mainly to Germany and Austria, for that is where symphonies and chamber music were being written, and that, for example, is why Théodore Gouvy spent his early years in Germany surrounded by friends such as Liszt, Friedrich Förster, Ferdinand Möhring, Ferdinand Hiller, and Carl Reinecke. Nonetheless, Adolphe Adam became a very well-known composer in France, but it is two of his ballets, Giselle and Le Corsaire, that have assured his place in the history of music.

To quote from the Colorado Ballet press release: “[Giselle] tells the story of a count [Albrecht] in disguise who falls in love with Giselle, a beautiful peasant girl with a fragile heart. When she discovers the count’s true identity, and that he is engaged to another woman, she dies broken-hearted. She becomes a member of The Wilis – vengeful spirits who suffered unrequited love in life, and are destined to roam the earth each night, trapping men and dancing them to their deaths. When the count enters the domain of the Wilis, only Giselle’s love can save him.” The original choreography for this ballet was done by Jean Coralli and Jules Perrot, and was later revised by Marius Petipa. The staging for the performance was done by Gil Boggs, Sandra Brown, and Lorita Travaglia.

The minute the curtain rose there was a gasp from the audience because of the scenery which came to the Colorado Ballet through the courtesy of the American Ballet Theatre. It was absolutely wonderful, with branches and leaves individually cut out with a cottage on each side of the stage. In the background, on a high hilltop, was the castle of the Duke of Courtland. The costumes were also terrific, and they were also from the American Ballet Theater.

Friday evening, Giselle was danced by Maria Mosina. I have seen Maria Mosina dance many times, but I must say that this was the best performance I have ever seen her give. There is absolutely no doubt that she was immensely comfortable on stage, which led me to believe that she has danced Giselle many times before. What sets her apart from other principal dancers around the country is her acting ability as well as her true artistic ability as a supreme ballerina. She is, simply put, incredible. And, what is more incredible is the fact that the other principal dancers in the Colorado Ballet, Viacheslav Buchkovskiy, Chandra Kuykendall, Dmitry Trubchanov, Alexi Tyukov and Sharon Wehner are all equal in ability. I have written in the past about the depth of artistry that the Colorado Ballet has, and you readers must understand that there is no clear-cut division in artistic ability between principles soloists and members of the Corps. Asuka Sasaki, Shelby Dyer, Dana Benton, Jesse Marks, Adam Still, and Caitlin Valentine-Ellis are all incredibly fine artists. I have watched other ballet companies, and have often thought that, perhaps next year, so-and-so will be elevated to the rank of Soloist from the rank of Corps de Ballet. The division line was clear. With the Colorado Ballet, that division line is very hard to see indeed, and it was particularly hard to see Friday evening. There was a new precision from everyone on stage: movements were absolutely together, and they were precisely with the beat provided by the orchestra. In fact, it was difficult to tell if they were following Maestro Adam Flatt, or if Maestro Flatt was following them, because there was such precision. And I point out that everyone seemed to be at perfect ease.

When Alexi Tyukov lifted Maria Mosina over his head, Mosina was perfectly horizontal, and it was one of the most graceful moves I have seen from these two dancers. The Peasant Pas de deux, which was danced by Dana Benton and Adam Still, was simply perfect. Truthfully, I do not remember ever seeing a performance the Colorado Ballet where everyone on stage made all of their movements look so effortless. And again, I must mention their dramatic ability, as well. Berthe, Giselle’s mother, was performed by Lorita Travaglia who is one of the Ballet Mistresses with the company. This role is not a dancing role, but she performed it so well that one simply did not have to read the program notes in order to understand what she was telling her daughter.

In Act II, Giselle has died because Albrecht’s deception aggravated her frail heart, and the character, Hilarion, danced by Dmitry Trubchanov, is attending her grave. It is nighttime, and the Queen of the Wilis, Myrtha, danced by Asuka Sasaki, made her appearance on stage. She performed a bourée step across the stage, and I do not think I have ever seen a bourée done so well. Nothing moved accept Sasaki’s feet. Her head did not bobble and her arms did not move, but you must understand that she did not appear to be rigid either. She simply floated across the stage in the most graceful manner, simply by moving her feet inches at a time. That has to be one of the most difficult steps in ballet, or at least, it seems so to me.

All of the Wilis danced precisely together, and their movements were highlighted by the perfect costumes that they wore: dressed entirely in white, they seemed entirely the antithesis of evil, but that is what made them so effective. They quickly dispatched Hilarion by dancing him to death.

Even in death, Giselle resolves to protect Albrecht, and it is here that Mosina and Tyukov do some of their finest dancing together. It was artistic and it was poignant. Maria Mosina was able to demonstrate through her remarkable skill and artistry that she was a spirit trying to protect the man she loved while she was alive. And, Alexi Tyukov was clearly able to play the role of a man still in love with the spirit, and yet, frightened by being surrounded by the Wilis and not knowing what to expect from the woman he loved while she was alive.

The Colorado Ballet is also very fortunate that they have Maestro Adam Flatt to conduct the Ballet Orchestra. In some ways, conducting a ballet can be considered to be not too much different from conducting a soloist who is performing a concerto. I make that statement only because audiences sometimes find it more difficult to hear a soloist who is unable to stay with an orchestra than it is to watch a dancer who is unable to stay with the orchestra. Maestro Flatt’s conducting is flawless, because he is able to anticipate what the dancers need in the way of support rhythmically, while making sure that the orchestra responded to those needs. Needless to say, he has transformed this orchestra so that its quality matches that of the ballet company. It is a wonderful thing to have the dancers and the orchestra so evenly matched.

Looking back over the years since Gil Boggs has been the Artistic Director; it is easy to watch the rapid improvement in this organization. And to phrase it in those terms makes it sound very trite. He has inspired the dancers with a newfound enthusiasm and he has inspired them with his own love for the art of ballet. He has proven time after time that he can raise this ballet company to new heights, and that here in Denver, there is a place for such an artistic organization to exist. It is high time that the community realizes that they do need their own building, and it is a very happy occasion when the community recognizes that need and supports the ballet to the extent that they have realized a long-held dream. Wouldn’t it be wonderful if they could have their own set design crew? They need that as well. This company, through the hard work by everyone on the staff, is one of the best in the United States. I can say that because I have seen other ballet companies and the Colorado Ballet is an equal.

Thank you, Colorado Ballet, for making my Friday evening a memorable one.



The Colorado Ballet should be listed as a National Treasure

Every season, the Colorado Ballet has always performed an unrelated trilogy of one act ballets that, for the last several years, have represented some of the finest dancing of which the company is capable. Sometimes there are fewer people in the audience because these ballets do not necessarily represent a kingpin in the season, such as The Nutcracker does. However, I have noticed that those who attend this “trilogy” seem to be those who really love dance, and are dedicated to the Colorado Ballet. Therefore, these three ballets have always struck me as representing a “kingpin” performance.

Friday evening, February 22, the Colorado Ballet presented such an evening entitled Ballet MasterWorks. The three ballets that made up this splendid evening were Theme and Variations, with music by Tchaikovsky and choreography by Balanchine; In Pieces with music by Poul Ruders and choreography by Val Caniparoli; and the third ballet of the evening was The Rite of Spring, with music by Igor Stravinsky and choreography by Glen Tetley.

The Colorado Ballet opened the program with Theme and Variations by Tchaikovsky and Balanchine. This was an important performance because this was the first time that the Colorado Ballet has performed a work by George Balanchine in the last ten years. Many of you who read this article will know that George Balanchine, (1904-1983), was the most influential choreographer of classical ballet in the United States in the 20th century. He was the founder of the New York City Ballet, and he also pioneered the use of choreography for film and musical theater. In 1947, he choreographed the music from Tchaikovsky’s Orchestral Suite Nr. 3 in G, Opus 55. It has no plot or storyline, and is therefore an example of classical ballet technique that is so extraordinary that it has become an indispensable portion of ballet repertoire.

Friday evening, the principles in this ballet were the incomparable Maria Mosina and the likewise incomparable, Alexei Tyukov. The Demi-Soloist ladies were Dana Benton, Shelby Dyer, Asuka Sasaki, and Caitlin Valentine-Ellis. The Demi-Soloist men were Christopher Ellis, Jesse Marks, and Adam Still.

The only set decoration on stage for this ballet were chandeliers hanging from the stage ceiling, because the original production indicated that it was to be done in a “warmly lit ballroom.” The women wore tutus, and the men wore quasi-military costumes of the nineteenth century. Two things struck me immediately: the first was that I could not recall seeing a classical ballet that required such incredible strength on the part of the dancers; and, in addition, the orchestra sounded better than it ever has, and it has always been excellent. I am constantly mystified at how seemingly easy it is for all of the dancers in this company to exude such incredible grace along with such incredible strength and control over what they do. Of course, that control takes strength, and it takes incredible mental strength to do so many things at once: keep the beat, smile, watch the conductor, worry about the conductor watching you, and learning to rely on those who are around you on stage. But one of the pleasures in watching Mosina and Tyukov is their remarkable reliability. Their solos were startling because of their difficulty, and in watching these two dance, they reflected the joy of their profession. I think that in ballet, that joy is easier to perceive than it is in watching orchestra members or solo musicians perform. A dancer has to perform with their entire body. Musicians have to perform by holding instruments or touching an instrument, and I think that makes a difference. It is often difficult for me to write a review of a ballet simply because there are so many on stage that I can’t just list every individual. But, the Colorado Ballet has such depth of artistic ability, that all of the dancers should be named.

The pas de deux by Mosina and Tyukov was sensational, not only because they are so skilled, but because they have such incredible trust and knowledge of each other’s reliability. Mosina knows exactly how she will be caught by Tyukov, and she knows he has the ability to hold her over his head. Tyukov can rely upon Mosina to make a leap in exactly the right moment so that he can catch her with great ease. All of this seems so obvious, that it hardly seems worth mentioning. But, I do mention it because the choreography in this opening work was incredibly difficult, and the reliability that I have mentioned in the preceding sentences is what separates the Colorado Ballet from other dance companies around the country. I heard an individual comment on a photograph of the composer Carlisle Floyd, who was hard at work at his desk. This individual said, “Look at the expression on his face! He is really concentrating hard, and it looks as if composing is hard. Is writing an opera really difficult?” So, you see, that’s why I sometimes feel compelled to mention the obvious.

The orchestra was superb in Theme and Variations. There is a marvelous violin solo in Tchaikovsky’s work and it was beautifully done by Lydia Sviatlovskaya.

Another reason that the house should have been full Friday evening was the World Premiere of the second ballet of the evening, In Pieces, choreographed by Val Caniparoli, who is the choreographer for the San Francisco Ballet. The music which Caniparoli used for this ballet is by Poul Ruders: his Concerto in Pieces “Purcell Variations” (1994-95).

I will quote briefly from the websites of Caniparoli and Ruders:

“Born in Renton, Washington, Mr. Caniparoli opted for a professional dance career after studying music and theatre at Washington State University. In 1972, he received a Ford Foundation Scholarship to attend San Francisco Ballet School. He performed with San Francisco Opera Ballet before joining San Francisco Ballet in 1973. He continues to perform with the Company as a principal character dancer.

“He has contributed to the repertories of more than thirty-five dance companies, including Pacific Northwest Ballet, Boston Ballet, Northern Ballet Theatre, Pennsylvania Ballet, Royal Winnipeg Ballet, Ballet West (Resident Choreographer 1993-97), Washington Ballet, Israel Ballet, Cincinnati Ballet, Singapore Dance Theatre, Atlanta Ballet, State Theatre Ballet of South Africa, Louisville Ballet and Tulsa Ballet, where he has been resident choreographer since 2001. When Boston Ballet danced the company premiere of Mr. Caniparoli’s full-length Lady of the Camellias in 2004, the critic for the Boston Herald wrote, ‘Why have we had to wait so long to see a ballet by this gifted choreographer?’”

And now, Poul Ruders:

“Poul Ruders was born in Ringsted, Denmark, on March 27, 1949. His early studies in piano and organ led eventually to studies in orchestration with the Danish composer Karl Aage Rasmussen. Ruders’s first compositions date from the mid-60s. Ruders regards his own compositional development as a gradual one, with his true voice emerging with the chamber concerto, Four Compositions, of 1980. Writing about Ruders, the English critic Stephen Johnson states: ‘He can be gloriously, explosively extrovert one minute-withdrawn, haunted, intently inward-looking the next. Super-abundant high spirits alternate with pained, almost expressionistic lyricism; simplicity and directness with astringent irony.’

“Poul Ruders has created a large body of music ranging from opera and orchestral works through chamber, vocal and solo music. In recent years, performances of his work on both sides of the Atlantic and in such distant locals as China, Japan and Russia have taken place with increasing regularity. With the overwhelming success of his second opera, The Handmaid’s Tale (1996-98), produced in Copenhagen (2000), Ruders became even more in demand, with commissions coming in rapid succession from The Berlin Philharmonic, The New York Philharmonic, The BBC Symphony Orchestra, and from The Royal Danish Opera. Recent performances include productions of The Handmaid’s Tale in Toronto and London, and orchestral premieres and performances in Berlin, New York and London.”

The music that Caniparoli chose is a set of variations on themes of the English composer, Purcell. However, Ruders variations began very exuberantly with a full orchestra performing at a good solid forte. It was instant excitement. It has been a long time since I have seen a ballet choreographed with such vigorous and rapid movements. The dancers in this terrific ballet were Caitlin Valentine-Ellis, Dmitry Trubchanov, Chandra Kuykendall, Jesse Marks, Sharon Wehner, and Christopher Ellis. The costumes were avant-garde: the danseuses wore smoky blue tights with transparent “petals” as skirts. The danseurs wore smoky gray tights with much smaller “petals.” This added to the aspect of being in a totally new world. The choreography was very rapid and incredibly energetic, but it was so imaginative that it almost defies description. And, I might add, that the choreography was absolutely beautiful. So much of that beauty was the result of the grace added to these very energetic movements. In the press release announcing this concert, Artistic Director Gil Boggs said, and I quote, “These three works in one evening with a live orchestra performance will make for a very powerful night of dance and music, and will leave the audience in awe.” Truthfully, that is an understatement. I would classify this style of choreography as abstract expressionist, but to fully fit that definition may be impossible, just as architecture as designated in the abstract expressionist style is impossible, because it could not be used by human beings. But the choreography was so creative and so imaginative, and the music wonderfully chosen by the choreographer and written by the composer, and it seems new, that it was hard to classify. I assure you that this was not “modern dance.” It was ballet in its purest form. The orchestra was sensational, and there was some marvelous saxophone solo and an equally marvelous tuba solo. I am sure that it was Art Bouton performing the saxophone solo and Michael Allen performing on the tuba. Both were incredibly mellifluous.

The third ballet Friday evening was the legendary Le Sacre du Printemps, or The Rite of Spring, by Igor Stravinsky. The choreography was done by Glen Tetley. Everyone, I am sure, is familiar with the legendary story of the near riot that this ballet caused in 1913 at its Paris premiere. The French audience was simply not accustomed to Stravinsky’s music, nor was it accustomed to the “risqué” choreography that Stravinsky required. Even Stravinsky’s good friend, Claude Debussy, seemed to be nonplussed. The musicologist, who was a friend of both, Louis Laloy, wrote of a meeting between Stravinsky and Debussy at Debussy’s house when the two sat down at the piano to play through a forehand arrangement of Stravinsky’s ballet. Debussy played the bass while Stravinsky played the upper register. These two giant composers had greeted each other at the beginning of the afternoon with hugs and handshakes, but after reading through the score, Debussy could do nothing but continually stare at the score, dumbfounded.

This is such an historic work in so many respects, that it is almost embarrassing to admit that I have never seen it before, but this was the first time. I found myself wondering what it would be like to sit there in 1913. The choreography was originally done by Vaslav Nijinsky, and it was long thought to have been lost, but it was recently reconstructed by the Joffrey Ballet. My initial reaction to Glen Tetley’s choreography, and it was sustained throughout the entire ballet, is that this is a beautiful work. Glen Tetley’s choreography was remarkable and very satisfying, and like the ballet before it, In Pieces, very energetic.

In the program notes, there was a quote from Glen Tetley which may be of help to those who are unfamiliar with this ballet. I will quote verbatim:

“Stravinsky’s Rite of Spring is earth music of profoundly moving power. It speaks to me not only of pagan Russia, but our ancestral beginnings of Myth and Belief. When seasons changed, when earth seemed to die without a leaf to survive, man heaped the blame on a single person, a chosen victim who was killed and then buried within the earth, ritually mourned and then miraculously reborn, bringing the gift of life to earth. T.S. Eliot in his poem, Gerontion, in one line captures this magic moment, “and in the spring comes ‘Christ the Tiger’.”

The Chosen One was danced by Adam Still; Maria Mosina and Alexei Tyukov danced the Earth Mother and Earth Father. Casey Dalton and Asoka Sasaki with a female soloists, and Jesse marks and Kevin Gaël Thomas were the male soloists.

I don’t think I have ever seen Adam still dance so well: he was not only sensational in his dancing, but in his expressivity as well. Maria Mosina and Alexei Tyukov were absolutely perfect. Their pas de deux was overwhelming in its tenderness. And, of course, Dalton, Sasaki, and Marks and Thomas were outstanding.

As I left the Ellie Caulkins Theatre, I was convinced that this was one of the best productions I have ever seen from the Colorado Ballet. Then I remember Echoing of Trumpets, Dracula, Romeo and Juliet, and, you see how many I have mentioned already. This makes obvious that in The Colorado Ballet, we have a treasure that has set the standard for the arts not only in Denver, but for the country as well. The Colorado Ballet is that good, and we must never take them for granted.



Swan Lake: The Colorado Ballet continues its excellence

It is been more than 20 years since I have seen Swan Lake. The opening night performance of the Colorado Ballet production, October 7, was the fifth performance that I have seen. Gil Boggs and the Colorado Ballet, even though they used the traditional choreography of Marius Petipa and Lev Ivanov, have staged a wonderful new production of this ballet. It has been slightly updated by Armanda McKerrow, John Gardner, both of whom were principals in the American Ballet Theater, and Colorado ballet’s Sandra Brown. Even with these updates, which include adding an original waltz during the first act, this was still the Swan Lake that everyone will recognize by its choreography. Do not begin to compare it with “updated” versions that have been done in London and in Sydney, where some critics have compared it, because of its changes, to the arranged marriage between the Prince of Wales and Princess Diana. I can assure you that everyone at the Colorado Ballet is an artist, and would not bend to modernizing one of the great classical ballets of all time. As performed by the Colorado Ballet, Act I contains two scenes. Some programs of other ballet companies label these as Act I and Act II, with the second act as Act III, and act three as Act IV.

What really gave me a very pleasant surprise in this production Friday night were the absolutely splendid sets and costumes. None of the previous Swan Lakes that I have seen had such beautiful sets, and the costumes certainly added a great deal to the story. One of the most spectacular costumes was worn by the character Baron von Rothbart which was performed by Gregory K. Gonzales. Gonzales is a very fine character actor, and his costume, with its huge feathered wings, coupled with his hard, cold stare gave him a remarkable sense of evil. But understand that one of the premier aspects that Gil Boggs, Sandra Brown, and Lorita Travaglia have added to the Colorado Ballet is a remarkable sense of drama and acting, which I have never seen in any other ballet company. And speaking of acting, it was also remarkable to watch the lovely Maria Mosina switch between Odette and the evil von Rothbart’s daughter, Odile. Her acting is always superior, and I will never forget her role in 3 Motions in March of 2010. On Friday, I was absolutely astounded at Mosina’s dancing. When she uses her arms to simulate the flying wings of a Swan, I was stunned. I was not able to get backstage after the performance, but I truly wanted to ask her how many elbows she has on each arm! Her arm motions were so fluid and never angular, that I am convinced she has at least five additional joints between her shoulder and wrist. Likewise, when she collapses to the stage from fourth position, I am convinced she has at least 30 more vertebrae in her back than the rest of us mortals. She was beautiful to watch and beautifully expressive.

I was also pleasantly surprised at all of the familiar faces I saw on stage. In a way it was like greeting old friends. In addition, there are several new faces that have come up through the ranks from the Academy to the Corps. It was easy to recognize Greg DeSantis and Morgan Buchanan. Among the new faces was one dancer that really stood out because of her dancing ability, and her ability hold a position, was Ariel Ha. The Corps was wonderfully sensational in this ballet. I am, as a pianist, always amazed to see them do a boureé because it seems so incredibly difficult. But all of the swans did it together, and did it in such a way that it seemed very easy. And perhaps, to a dancer, it is. But I don’t believe that for a minute. Last year I asked one of the dancers how they could do such difficult steps, and still smile while the exertion must be killing them. She said matter-of-factly, “But that’s what dancers do.”

Alexi Tyukov was wonderful as Prince Siegfried and Viacheslav Buchkovskiy as Benno was outstanding. This ballet company has such incredible depth: Casey Dalton, Shelby Dyer, Caitlin Valentine-Ellis, Olga Prikhodtseva, Dana Benton, Cara Cooper, Asoka Sasaki, Sally Turkel, Alyssa Velázquez (and I know I am leaving out some of the swans and waltz couples, so please, please forgive me) are always beyond compare. And the same phrase belongs to Christopher Ellis, Christopher Moulton, Sean Omandam, Kevin Gaël Thomas, Adam Still, Luis Valdes, Jesse Marks, and Kevin Wilson. Look at all the names that I have mentioned. And, again, I’m afraid that I have left some out. As I have said before, and I sincerely believe this, most of the corps are capable of being soloists.

Lorita Travaglia, one of the Ballet Mistresses with the company, and who has a remarkable history of performance, was perfect as the Queen Mother. Many might think that since this is a rather minor role in the ballet, that its impact would be minor. It isn’t, simply because it speaks to the detail that goes into every production by the Colorado Ballet. Everything associated with Friday night’s Swan Lake was artful, polished, and professional.

Maestro Adam Flatt, who conducts the Colorado Ballet Orchestra, is superb. I think it is worth noting that conducting a ballet is not the same as conducting an orchestra without dancers, or an orchestra that is performing, say, a concerto with a soloist. If a conductor has three performances with a violinist as soloist, he or she can be assured that the soloist will take the same tempos at each performance that have been so carefully worked out at rehearsals. But a ballet conductor has an entire stage full of dancers, and not only that, but the next evenings performance may well be with different lead dancers. Some of those dancers undoubtedly will prefer different tempos. Ballet is strenuous and athletic. It is conceivable that a dancer could suffer an injury. In that case the conductor has to be aware of changes in tempo from the dancer. I have seen Maestro Flatt conduct many times, and he has a sixth sense of empathy with the dancer (as well as solo instrumentalists).

Tchaikovsky wrote a good deal of music in this ballet for violin solo. I could not see into the orchestra pit from where I was sitting, but I would this assume that the solo work was done by the concertmaster, Lydia Sviatlovskaya. She was excellent, as was the entire orchestra.

It is always such a pleasure to see the Colorado Ballet because they are so consistent in every detail throughout the production. Friday night’s performance left no detail lacking. Everyone on the staff of this organization from the Lighting Director, to the dancers and orchestra, are totally concerned with their art. That is one reason that we here in Denver should be so gratified to have them here.

If you are hesitating to see the Colorado Ballet’s production of Swan Lake because you are familiar with it, and anticipate “another performance of the same old thing,” you will be making a big mistake. It is fresh and invigorating. And remember: the Colorado Ballet is one of the best, if not the best, in the United States. If you go to this Swan Lake, you will agree.

I have never seen the Colorado Ballet do anything that was less than excellent.




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