Class in classic Coppelia / UNESCO head writes Cecile

Philippine Ballet Theater continues to draw a large following. It had four presentations of Delibes’ ‘Coppelia’ at the 2,000-capacity CCP main theater, and the venue was fairly full even at the last show which I attended.

There was obvious class in the production of one of the plums of classic ballet. Refinement, grace and delicacy characterized the performance of the ballerinas; buoyancy, that of the danseurs. Eloquent miming propelled the story clearly and speedily. The admirable dancing and miming, in large measure, were presumably to be attributed to the training by Russian Anatoly Panasyukov, PBT’s ballet and rehearsal master from the Bolshoi.

Then, too, there were the colorful, elegant costumes; further, those worn by the soloist ballerinas glittered and shone yet were not flamboyant. The evocative, ingenious, descriptive sets designed by Miguel Faustmann were enhanced by the subdued, subtle lighting of Lito Borromeo.

The corps de ballet demonstrated a very high degree of competence and precision, its phrasing crisply articulated. In Act I, the young, pert Veronica Ylagan displayed technical skill as Swanilda but seemed wanting in sparkle and élan. Lemuel Capa as Fritz, Swanilda’s suitor, exhibited what, by local standards, were remarkable feats; e.g., soft landings and controlled endings to his airy turns (tours en l’air).

In what was both a masterpiece of choreography and a masterpiece of choreographic interpretation, Bianca Trocino nearly took one’s breath away. As Coppelia, she went through the abrupt, quirky, measured movements of a mechanical doll briefly and arrestingly coming to life.

When the ballerinas invaded Dr. Coppelius’ shop, the scene enchanted and fascinated as huge dolls of various nationalities also came to life momentarily and wreaked havoc on the intruders who stealthily escaped from the furious doll-maker.

In the divertissements and solo variations, all eyes were on Trocino, with Capa proving a thoroughly dependable partner.

Josefa Atayde (Dawn) and Joanne Galeste (Prayer) gave highly impressive renditions, each showing lightness and flowing grace. Joel Matias as Dr. Coppelius could have been a bit more spirited and agitated, but everyone else, in either major or minor role, was effective in his portrayal; e.g., Butch Esperanza, the Mayor; Anatoly Panasyukov who infused his very brief appearance as the priest with solemnity and dignity, blessing the audience with a sweeping sign of the cross in the final curtain call.

In sum, all scenes of ‘Coppelia’ were meticulously thought-out and executed with polish and refinement; I repeat, with class. After the grand finale, the tightly-knit dance ensemble and its artistic director, Ronilo Jaynario, received hearty, prolonged applause.

Heading the PBT are Chingbee Kalaw, chairperson; Cha-Cha Camacho, president; Julie Borromeo, chairperson, Artistic Council. Welcoming guests at the lobby were the vivacious, charming Marilou Kahn Magsaysay, chair, government partnership, and Mars Lambino, assistant secretary, board of trustees.

Irina Bokova, first woman director of UNESCO in its 65-year existence, writes a letter to theater icon Cecile Guidote Alvarez after her visit to the Philippines. The letter was written from Paris sometime ago. Excerpts follow.

Dear Cecile —

How pleased I was with my recent visit to your country. I am very grateful to the Philippine authorities, colleagues and friends for their kind hospitality and warm reception. I wish to thank you and your husband Senator Heherson Alvarez very much for your personal assistance and for the excellent arrangements that made my visit so successful and rewarding.

UNESCO has always enjoyed an excellent cooperation with the Philippines, as exemplified by the Organization’s strong ties with the Earthsavers Ensemble Academy, the UNESCO Dream Centre that you are leading with such vision, generosity and dedication. I was most heartened to note the level to which UNESCO’s ideals are cherished and integrated into the daily activities of each and every member of your Centre. I was also very honored to formally inaugurate the Centre at the Philippine Normal University.

The artistic performance of the Earth Ensemble’s children and teenagers with special needs will always remain a memorable and moving experience. It conveyed a strong message on the healing power of culture and the arts. The children’s inspirational message about ending violence and protecting the environment only heightens my determination to make ours a better world.