Les Sylphides and More by Hong Kong Ballet

The Hong Kong Ballet ended its season with a mixed bill in the past three days. On the program was its Guest Principal Dancer Tan Yuan Yuan, whom I just couldn’t resist seeing. She had two numbers on the program, both being contemporary pas de deux with her long-time partner Damian Smith, who has recently retired from his principal role at San Francisco Ballet.

Dancer: Hong Kong Ballet Soloist, Liu Yu-yao; Photography: Chi Wai & Keith Hiro

Dancer: Hong Kong Ballet Soloist, Liu Yu-yao; Photography: Chi Wai & Keith Hiro

First, an assessment of the title program, “Les Sylphides.” Choreographed by Michel Fokine and originally staged in 1909, the ballet features a collection of Chopin’s most known piano pieces.  This was the only number that had live music. Daniel Chan, a nine-year-old local piano prodigy, accompanied the ballet on the first two shows, whereas the Sunday matinée one was accompanied by Nicholas Lau. His piano playing was not bad, but definitely not to be compared with Lang Lang… or my favorite, Vladimir Horowitz 😉 OK, OK, perhaps I’m not being fair there. Anyway, let’s turn to the dancers of this particular show. The main dancers of the pas de deux were soloists Liu Yu-yao and Li Jia-bo. I have always liked Liu Yi-yao for her poetic movement and how she covers space despite her extremely lanky physique. I think she was a good choice for this role, light, ethereal, an emblem of Romantic beauty. However, I don’t like the performance of her partner Li Jia-bo at all. His jumps did not have good ballon. His facial expression was strained, as if it was a constant struggle for him to “get her.” As a partner, his musicality is just a tad off, so that he often caught his partner’s waist a fraction of a second too late, leaving her to catch up with the music in the next moves. For me, they just didn’t work well as a pair on stage.

Overall, the piece was beautiful, as it was set out to be, but lacking in dramatic elements. The corps de ballet provided a beautiful ambiance with their formations, but I could see that most of them looked a bit bored staying in the same position or repeating the same port de bras. An apprentice, who will move on to the corps de ballet next season, Vanessa Lai, caught my eye though. Not only because she was in the same ballet studio where I studied a few years ago but also because I could see how hard she worked even in supposedly “boring” steps. Her épaulement and head positions were more interesting than many others in the corps. Definitely a young ballerina worth watching in the upcoming seasons.

The gems of the program appeared like meteors after the first intermission—so bright yet so fleeting! Tan Yuan Yuan came on stage next to Damian Smith against a dark backdrop and mists in the air. The piece is called “Finding Light,” chreographed by Edwaard Liang with music by Vivaldi (Concerto in B Major). This piece really showcased the mature dance partnership between the two seasoned dancers to the max. Moving like fluid, the two seemed to be groping in the dark, seeking light—just as the title implies. Sometimes the male partner would be moving in front of the female, who became totally obscured—something you’d never see in classical ballet. A lot of times they would be moving side by side. There wasn’t a single pause in the movements and there wasn’t time to breathe either. Every inch of their bodies expressed the emotions of yearning and seeking. When I watched Tan, her tiny body and long limbs were talking so loud without a word, moving as smoothly as a snake yet you could almost feel her soul trembling with exertion. I would’ve held my breath a bit longer but the dance was over too soon.

Tan-Yuan-Yuan_Damian-Smith

Tan Yuan Yuan and Damian Smith in “Finding Light” Photographer: Erik Tomasson

Next on the program was the pas de deux from “Le Corsaire” Act II. The dancers, Jordan-Elizabeth Long (from the United States) and Adilijiang Abudureheman (from China), were invited from the Royal Swedish Ballet, where Hong Kong Ballet’s Artistic Director Madeleine Onne was a principal for many years. Well, I think the choice of this number—being such a well-known one, with footages by the world’s best dancers all over YouTube—was a wrong one. It would be hard-pressed to find any surprise element and I was right. The dancing and costume of Long was utterly boring, despite the frozen smile constantly glued to her face. She also was not in the music. There was a lack of attack and passion in her entire approach. Abudureheman was a bit more interesting to watch. His jumps and leaps were powerful, his pirouettes not quite so—he did not finish using all the music for the  turns at the end. I was glad when the variation was over, as I couldn’t wait to see Tan and Smith again in the next number, “Five Movements, Three Repeats” pas de deux.

The piece was created by British choreographer Christopher Wheeldon, set to the music of Max Richter, “This Bitter Earth,” sung by Dinah Washington. This was a very dark piece, almost depressive, as you hear the repeating lyrics with a sad voice:

This bitter earth
What fruit it bears
What good is love
That no one shares
And if my life is like the dust
That hides the glow of a rose
What good am I
Heaven only knows

This bitter Earth
Can be so cold
Today you’re young
Too soon you’re old
But while a voice
Within me cries
I’m sure someone
May answer my call
And this bitter earth
May not be so bitter after all

Tan and Smith appropriately expressed the depth of bitterness and despair with their body language. It was almost too sad to bear. Personally I do not like ballet set to songs with lyrics, so this was a minus for me. But the dancing and partnership of the two dancers redeemed this “fault” and again, the dance was too short to satisfy my desire to see Tan dance. But all beautiful things must come to an end, and I was glad that I went to see her despite the pain I had to endure traveling to the theater with my post-op body.

Tan is a goddess of ballet in my eyes. At 37, she is still dancing at her prime, and I hope to be able to see her perform live a lot more times. We are lucky to have her as Hong Kong Ballet’s Guest Principal Dancer.

The last on the program was a surprise. It was the world premiere of “Shape of Glow,” choreographed by Finnish choreographer Jorma Elo. A neo-classical piece set to the marvelous music of Mozart and Beethoven, “Shape of Glow” reminded me a lot of American Ballet Theater’s “Shostakovich’s Piano Concerto No. 2” choreographed by Alexei Ratmansky. Except for a much smaller stage and the lack of a theater set, “Shape of Glow” was every bit as interesting. Okay, I still prefer the dancing and the costumes in Concerto No. 2, but the music chosen makes the ballet surprisingly exciting to watch—Symphony No. 28 in C Major and Piano Concerto No. 27 in B Flat Major by Mozart; ending with a heroic “Consecration of the House Overture” by Beethoven.

The movements beautifully reflect the complexity of the musical structure, the partnership was fluid and fun to watch, and so were the futuristic-looking costumes—turquoise and black leotards that look like Star Trek costumes and female dancers going tights-free, showing their strong muscles. Credits go to Yumiko Takeshima—of Yumiko dancewear fame—for these costumes. I wish I could show you a picture but I can’t find one on the Internet.

In this show one can see what a melting pot the Hong Kong Ballet has become—as opposed to the homogeneous look in some other elite ballet companies. I think it is a good and stimulating development, and so is the collaboration with quality choreographers like Jorma Elo. Going forward, I hope our local dance company will put out shows of more consistent quality and try to tap into the local talent besides the international dancers and guest stars it has attracted in recent years.

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