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.

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.

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 performs a World Class Sleeping Beauty

It is safe to say that The Sleeping Beauty is Tchaikovsky’s most perfect ballet score. As a piece of music, it ranks with his Fourth Symphony, and it certainly established Tchaikovsky’s reputation as a composer of ballet music which was far more than merely functional. You must understand that ballet music before Tchaikovsky, was truly functional, and served no purpose outside of ballet performances. Indeed, it was not composed to be used outside of a ballet performance. But, Tchaikovsky infused his ballet scores with such emotion and melodic beauty that the music heightened the drama of the plot, thus, the music became popular on the concert stage.

The story of The Sleeping Beauty is from a book entitled, Tales of Mother Goose by Charles Perrault, who was the comptroller–general of all the buildings that belonged to King Louis XIV. Included in the book were two other famous stories, Little Red Riding Hood, and Puss in Boots. This book became Perrault’s most famous work, and earned for him the title of “the father of the French fairytale.”

The Colorado Ballet’s production of this ballet uses the original choreography by Marius Petipa (1818-1910) and was staged by Artistic Director Gil Boggs; Sandra Brown, Ballet Mistress; and Ballet Mistress, Lorita Travaglia. The scene and costume design was done by Peter Cazelet and were rented from Ballet West. The scenery was some of the best use of scrim that I have seen for a long time, and I think that the Colorado Ballet made a wise choice when they rented this particular scenery.

I was able to attend the Saturday evening performance, and it was absolutely one of the best productions I have seen the Colorado Ballet present. The curtain opened to the christening of Princess Aurora who is showered with the character traits of Serenity, Vitality, Generosity, Happiness, and Temperament. I capitalized those traits because each one is a fairy, and each one made a lasting impression because of her acting ability, as well as her dancing ability. In the order that I listed them were Dana Benton, Klara Houdet, Caitlin Valentine-Ellis, Casey Dalton, and Asuka Sasaki. Right away it was obvious that these dancers were excellent actors, and all of equal ability. But I must tell you that it was Casey Dalton, as the Happiness Fairy who captured my heart because of her bubbly and effervescent acting. The christening ceremony is interrupted by the evil fairy, Carabosse, who was portrayed by Gregory K. Gonzales. Gonzales was superb in portraying the evil fairy who places a curse on Princess Aurora because the King and Queen did not invite her to the christening party. As all of you who are familiar with the story of The Sleeping Beauty know, the curse causes the Princess to prick her finger on a spindle and die. But the curse is thwarted by the good Lilac Fairy, danced so wonderfully by Shelby Dyer, so that the Princess will only fall asleep for 100 years.

The evil Carabosse was accompanied by four henchmen, danced by Sean Omandam, Rylan Schwab, Jeremy Studinski, and Kevin Wilson. These four dancers were absolutely marvelous, and their chaotic and rude behavior was so convincing and so skilled that I found myself wondering if it was harder to portray evil rowdies, or to portray beneficent fairies.

In the second scene of Act I, Princess Aurora is 16 years of age and is pursued by four suitors. There was an incredible scene where the Princess, danced by the outstanding Principal, Sharon Wehner, greets her suitors, and as they pass by, she performs an arabesque, en pointe, as she touches each suitor lightly on the hand. You must understand that there is a period of some seconds while she is standing only on the toes of one foot with no other support. She left the vivid impression that she could stand en pointe on one foot for the whole day if it was required of her. That takes incredible endurance, balance, and strength.

Carabosse returns with a spindle, presents it to the Princess, and by pricking her finger the curse comes true. Everyone at Aurora’s 16th birthday celebration falls asleep for one hundred years. Sharon Wehner’s acting in this scene was brilliant, projecting the fright of what was happening to her as the curse began to take effect. She has an incredibly malleable face, and she is able to change her expression and make it visible to everyone in the audience.   Throughout this entire performance, the Colorado Ballet Orchestra, under the direction of Maestro Adam Flatt, was magnificent. The woodwind section in this orchestra is superior, and the oboe, played by Kathryn Dupuy, was outstanding. Flatt has to follow the dancers in the manner that a conductor has to follow a soloist performing a concerto: there must be the same give and take between dancer and conductor and the dancer’s feet must touch the stage at specific rhythmic points.

Act II opens in an enchanted forest. The scrim was, again, very magically done with a statue on a pedestal cleverly painted so that it was almost invisible. And, likewise, there was the face peering out of a hollow tree. Prince Desiré is leading a hunting party. Seeking a moment’s rest, he sends his hunting companions on without him. The Lilac Fairy appears, and creates the image of the sleeping Princess before his eyes. He falls in love, and asks the Lilac Fairy to show him where she is. The Prince kisses the sleeping Princess, awakening her, and he kneels before her, asking for her hand in marriage. Alexei Tyukov was sensational as Prince Desiré. Every step that he took displayed great strength and great ease. I must say that everyone in this dance company displays great strength, and, mind you, that also applies to Sharon Wehner, Shelby Dyer, and all of the women in the cast. They are all in superb physical shape, or they simply could not do what Marius Petipa demands. All of the ballerinas in the company can do a Pas de bourée couru with ease and alacrity and, to my eyes, that has to be one of the most difficult steps to dance. In this particular ballet, Petipa seems to have been obsessed with this particular step, because it occurs over and over.

Act III is the wedding of the Prince and Princess, and all of Perrault’s characters make their appearance –Red Riding Hood, the Wolf, the Bluebird, and Puss-in-Boots.

The performance of this ballet was absolutely world class. All of the dancers of the Colorado Ballet have demonstrated that they belong on stage, and the Colorado Ballet is remarkable for its depth of artistry. This Ballet Company seems to be thriving: they have a truly outstanding orchestra led by Maestro Adam Flatt and Maestra Catherine Sailer, a truly outstanding Artistic Director in the person of Gil Boggs, and they have a truly outstanding board chaired by Marie Belew Wheatley.

In the last few years, I have come to expect a good performance from the Colorado Ballet. At every performance, my expectations have always been surpassed. They are consistently world-class. The quality of The Sleeping Beauty performance made me realize how much I missed seeing performances such as this during the off-season. The thought occurred to me that it would be truly wonderful if the funders of the Colorado Ballet, foundations and individuals alike, could support the ballet to the extent that they could perform major ballets the year-round. I suppose that on the surface that seems unreasonable, because there would almost have to be a summer company as well as a regular season company.

After all, there are many cities throughout the United States that have summer orchestra festivals – some are here in Colorado. I truly believe the Colorado Ballet has the ability to draw an audience from all over the United States for a summer ballet festival.

Everyone in Colorado owes the Colorado Ballet a Tribute

Every time I attend a performance by the Colorado Ballet, I am left with the feeling that it is such a privilege.

Thursday evening, March 29, I attended the opening of Tribute. The Colorado Ballet gave the performance this title because it was a tribute to Lillian Covillo and Freidann Parker, the founders of the Colorado Ballet. I felt that I was privileged because the performance was so absolutely marvelous. The program was comprised of three separate ballets of approximately twenty minutes each. All three ballets were World Premieres. Each ballet was very different in character, and each was choreographed by different choreographers: Emery LeCrone, Amy Seiwert, and the Jodie Gates.

All three ballets were done without scenery on the Gates Hall stage at the Newman Center for the Performing Arts. The lack of scenery was, in truth, rather refreshing because that allowed me, at least, to concentrate on the dancing and the music, and certainly, the size of the Gates Hall stage certainly seemed quite adequate.

The opening ballet of this three-part performance was choreographed by Emery LeCrone. Ms. LeCrone, who attended the University of North Carolina School of the Arts, is a very prolific choreographer, and she is the Choreographer in Residence of the New Chamber Ballet and the Columbia Ballet Collaborative. The title of this first ballet of the evening is Archetypes, and was written for ten women and eight men. The principal dancers were Maria Mosina, Chandra Kuykendall, and Dmitry Trubchanov. There were also two soloists: Dana Benton and Caitlin Valentine-Ellis. The other dancers came from the Corps.

From the outset, it was apparent that this was going to be a very intense performance. I was unable to find out anything concerning a suggested plot for this ballet, and indeed, there may not be a plot. But it seemed to me that it centered around two women – Mosina and Kuykendall – who were polar opposites in their approach to life and men. Ms. LeCrone chose music composed by Terry Riley, and its intensity certainly provided the motivation for the dancers. Terry Riley has been strongly influenced by John Cage, and, in 1964, he moved into the realm of minimalist music. It is amazing to me how Mosina and Kuykendall can add tension, intensity, and such fluid grace all in one short ballet. It seems to me that both of them were intent upon portraying characters that were extremely comfortable in their own life, but extremely uncomfortable in facing each other. Such are the gifts of these two ballerinas, that they can convey so many facets of mood through movement. Yes, I know there are many of you who will say that is what dancers do, but these two are truly exceptional. Everyone in this company is exceptional, and that is one of the reasons why I think the Colorado ballet is one of the best ballet companies in the United States. I also noticed that in the last year, the artistic abilities of Greg DeSantis and Morgan Buchanan have just exploded in grandness. They showed absolutely marvelous confidence on stage, and that is what it takes to match everybody else they were performing with. It is my hope that everyone who was in the audience this evening could realize that the performance of ballet takes intense (there’s that word again) mental effort as well as the noticeable physical strength and endurance. The choreography of Archetypes was quite remarkable because it had so many new movements that I have not seen without destroying the emotional impact of what the dancers conveyed. I have seen some avant-garde ballets where, in spite of the good music (and Terry Riley is a very good composer) the choreography did not seem to match. This was most certainly not the case Thursday evening. It was a wonderful amalgam of music and dance and emotion.

The second ballet of the evening was choreographed by Amy Seiwert, and was entitled Traveling Alone. Ms. Seiwert is currently the Choreographer in Residence at the Smuin Ballet. She has won many awards and her creations are part of the repertoire in several ballets in the United States and Canada. She has been lauded in Dance Magazine and has been invited twice to participate in the New York Choreography Institute.

Dana Benton was remarkable in portraying a young woman all alone. Again, the emotions in this ballet combined apprehension and loneliness with one’s surroundings. I must admit that I am totally unfamiliar with the composer, Max Richter, whose music was used by Amy Seiwert. I do know that he has written several film scores, and he has received a commission for the Royal Ballet in England. The music that Seiwert chose for her ballet is highly effective and Dana Benton and Luis Valdes were superb. As I have written before about the Colorado Ballet: it is one of the most consistent ballet companies in the country. When I say consistent, I mean that they are consistently excellent in their artistic merit, not only as individuals, but as an entire company. They are consistent in their dramatic abilities. I know that all performers, after a performance, always look back and say to themselves, “Oh, I wish I could’ve done this better.”, but I assure you I have never seen any of these dancers commit what I would consider a gross blunder. I have seen that in other ballet companies. It was very interesting for me, as a musician, to be totally unaware of how carefully the choreographers chose their music. I mention that, because none of the music for these ballets was commissioned specifically for these three programs. Obviously, the music was chosen because it suggested something very specific to the choreographers. That seems like a very obvious statement, but it is one more item on the list that made this performance so intimate in an already intimate setting, compared to the Ellie Caulkins Theatre.

The third ballet of this wonderful evening was entitled Embellish. It was choreographed by Jodie Gates who is known the world over for her choreography, as well as her creation of a California-based nonprofit organization called Laguna Dance Festival. She has danced as a Principal Ballerina with ballet companies all over Europe and the United States and she is currently Professor of Dance at the University of California.

I was quite surprised to see (and hear) the music of Mozart used in her ballet. There were arias, there was a movement from a Mozart Violin Sonata, and there was a movement from a Violin Concerto.

Maria Mosina and Dmitry Trubchanov once again took the stage along with Sharon Wehner and Christopher Ellis, Chandra Kuykendall and Alexei Tyukov. They were joined by members of the Corps. The choreography was modern even though the music came from the classical period. If anyone had suggested this to me before I came to Thursday evenings performance, I most likely would have dismissed the two widely varied styles of art. Seeing it made me believe that almost anything can be danced to. And, indeed, that was a view expressed by the late great Merce Cunningham. Mosina and Trubchanov work incredibly well together, and both of them exude remarkable physical and emotional power when they are on stage. And, I promise you that I heard softly murmured expressions to that effect from the audience as these two danced. It is also interesting to note that Sharon Wehner is probably the smallest individual in the company, but when she is on stage her artistic skills truly make her larger than life. She and Christopher Ellis were absolutely superb, as were Chandra Kuykendall and Alexei Tyukov. That opinion makes me feel it necessary to stress again: the Colorado Ballet has such remarkable depth that if it ever became necessary, any of the dancers could substitute for any of the other’s positions. There are not many ballet companies in the country in which that could happen.

The costumes which were done by Christine Darch and Sandra Kerr were excellent. You must understand that I never get tired of using that word when I associate it with the Colorado Ballet.

I might say one thing, however, and that is that I was surprised by Mozart’s name in the program where he was listed as Amadeus Mozart. I wonder why Wolfgang Mozart was not used, because Mozart did not like the name of Amadeus, and on his marriage contract of August 3, 1782, he signed his name Wolfgang Amade Mozart, leaving off the final -us of his middle name, and on the remainder of the documents he signed them Wolfgang Adam Mozart. In a letter of 1787 to his friend Gottfried von Jacquin, Mozart explains how, on a trip to Prague, he and his wife made up names for themselves, their dog, and all of their friends. As I recall, some of those names even ended in the Latin -us, as if Mozart was engaging in a little self-deprecating humor.

Of course none of this has any bearing on the performance Thursday night. The dancers and the music in the evening were superb. They received a very well-deserved standing ovation, and it is my hope that Gil Boggs is as proud as he can be. He, and all of the dancers, deserve that.

The Colorado Ballet will perform at the Newman Center and in New York City

The Colorado Ballet will present Tribute, a mixed-bill production of three contemporary world premieres by three innovative female choreographers March 29 through April 1, 2012 at the Newman Center at the University of Denver.   The choreographers premiering their works in this production include Emery LeCrone, Archetypes; Jodie Gates, Embellish; and Amy Seiwert, Traveling Alone.  Tribute honors Colorado Ballet’s founders, Lillian Covillo and Freidann Parker.   “I am especially proud of this production as it pays homage to Colorado Ballet’s founders, Lillian Covillo and Freidann Parker,” said Colorado Ballet Artistic Director Gil Boggs. “These two women had the imagination and courage to create world-class dance in Denver, and for that we owe them so much. This production is a testament to the vision of Lillian and Freidann and demonstrates the successes of female leaders and artists in ballet.”   At 25, LeCrone has created several prominent works, competed in numerous choreography competitions, and received substantial grants and new commissions for her choreography.  She founded her own performance series, The Young Choreographers Showcase, which promotes the creation of new dance works and provides opportunities for young emerging choreographers to create and present their work in New York City free of charge.   Gates is a 30-year veteran in the professional dance field and has wide-ranging career as a choreographer, director, educator, producer and dancer. She is internationally recognized as a leader in the dance world with her choreographic work for professional companies, the creation of the California-based non-profit organization Laguna Dance Festival, and directing educational programs at the university level.   Dance Magazine named Seiwert one of “25 to Watch” and the San Francisco Chronicle has listed her choreography in the “Top 10” dance events twice.  She worked with dancers from the New York City Ballet twice, participating in the NY Choreography Institute at the invitation of Peter Martins.  She is Artistic Director of Imagery as well as Choreographer in Residence for Smuin Ballet.  This is Seiwert’s second work for Colorado Ballet; her first was Things Left Unsaid.   Performance Schedule and Ticketing Information for Tribute: Thursday, March 29, 2012 @ 7:30 p.m. Friday, March 30, 2012 @ 7:30 p.m. Saturday, March 31, 2012 @ 2 p.m. Saturday, March 31, 2012 @ 7:30 p.m. Sunday, April 1, 2012 @ 2 p.m.   Ticket prices range from $22 to $154. To purchase tickets for Tribute visit www.ColoradoBallet.org or call 303-837-8888 ext. 2.

The Colorado Ballet invited to perform at Gotham Dance Festival in New York where they will perform Embellish, a work from the upcoming production Tribute.

The Colorado Ballet will perform at the invitation of choreographer Jodie Gates during the Gotham Dance Festival June 2-3, 2012 at The Joyce Theatre in New York City.  Gates chose two companies to show the span of her work: Colorado Ballet and BalletX from Philadelphia.

Gates spent three weeks in Denver to create her new work Embellish as part of Tribute, an upcoming mixed-bill production featuring three world premieres by innovative female choreographers.  With the generosity of several donors, Colorado Ballet raised the necessary funds for the trip and will travel with a cast of six men and six women to perform Gates’ Embellish at the festival.

According to Gates, she felt Colorado Ballet would best represent her neoclassical work, which embodies her influences of classical ballet training and her work with William Forsythe.  Embellish is a 22-minute neoclassical ballet performed to Mozart arias, Sonata for Violin and Piano, and the 3rd movement of the Violin Concerto No. 1.

For more information, visit www.ColoradoBallet.org.

About Colorado Ballet Under the direction of Artistic Director Gil Boggs, Colorado Ballet’s dancers come from all parts of the world. Established in 1961 by Lillian Covillo and Freidann Parker, Colorado Ballet is a non-profit organization celebrating 51 years of presenting world-class classical ballet and superior dance in Denver. Colorado Ballet presents more than 50 performances annually. Colorado Ballet enhances the cultural life of the Colorado community through performances, training and educational programs.