Ballet Internationale-Indianapolis would be festooned with gold if their Sleeping Beauty was the Olympics. Dynamics of story and precision of dancing never wavered throughout this very long epitome of classical ballet. Corps and principals alike sparkled as a smartly trained company.
Eldar Aliev’s style and principles are grounded in adherence to the integrity of a work while allowing dancers to bring their intelligence and special abilities to the fore. It’s a delicate balance that comes off time after time, and earned even more respect during this daring 30th season.
Tchaikovsky’s music shapes and drives this fairy tale ballet even though it originated as a tightly developed partnership between him and the choreographer and designer, whose story differs in some points from the Perrault version most of us know. The musical motifs of good and evil and forces of light and forces of darkness repeat in variations, driving the action.
The good Lilac Fairy softens the malice of the fairy Carabosse, embittered because of being left off the invitation list by the king and queen’s steward. The rest of the court is essentially passive, Princess Aurora included. Yet, in her three gorgeous adagios, danced to perfection by Chieko Oiwa at the April 23 performance, she delivers the story of a life: a delight-filled child suffers before becoming a young woman who gains great love.
Costumes, set and lighting by Elizaveta Dvorkina extended the deft dancing and character performances. Only a live orchestra could have topped this sumptuous Sleeping Beauty, which rates its place in the pantheon originating at the Maryinsky Theatre in St. Petersburg in 1890.
No comments:
Post a Comment