The spirit is willing but the flesh is weak — so goes the oft quoted saying. An untimely bout with the flu explains my missing the “World Stars of Ballet” at the Aliw Theater. Ballerina Lisa Macuja-Elizalde is highly regarded and admired by her peers in international ballet, consequently, leading dancers of the Norwegian National Ballet, the American Ballet Theater, the Marinsky Theatre, the Kremlin Ballet, London’s Royal Ballet and the English National Ballet accepted with alacrity Lisa’s invitation to perform with her and Ballet Manila dancers. Further, there was the unprecedented and triumphant engagements of Lisa and Ballet Manila in London and nearby regions which ended with standing ovations and insistent invitations for return visits.
Through these many years, I have fortunately watched several world stars of ballet here and abroad. At the Paris House, I saw Yvette Chauvire, and I vividly recall her fantastic technique, fluid grace and subtle artistry. Later, at the FEU auditorium, the Russian Alexandra Danilova, dancing in the grand manner, appeared in a pas de deux with Benny Villanueva. Up to this time, she is the only ballerina I have seen fall unsupported, from a standing position, into the arms of her partner. Along with her were two other dancers of the original Ballet Russe de Monte Carlo — Mia Slavenska (her pointe shoes were not held up by ribbons so I don’t know how she kept them) and the English Frederic Franklin, a dancer of marvelous elevation.
The Russian Raissa Strukova danced with her partner at the inauguration of the Meralco Theater.
In London, as guest of state, I watched the eminent American choreographer Jerome Robbins (of the New York City Ballet) rehearsing Royal Ballet dancers in his composition “Dances at a Gathering”. It was a remarkable experience seeing them following his directions flawlessly.
I watched Margot Fonteyn, prima ballerina assoluta, rehearsing at the now demolished Rizal Theater, keeping her dignity and her cool while an obtrusive photographer tried taking pictures of her. Dame Margot danced twice at the CCP main theater; she was 53 at her last visit, dancing in her own inimitable fashion which earlier led Rudolf Nureyev — the world’s most exciting danseur in his time — to dance with her. At the Vienna Opera Ballet where he and Fonteyn rendered his own choreography of “Swan Lake”, audience reaction was 89 curtain calls! Incidentally, Nureyev and Lisa belong(ed) to the same company: with Kirov.
I shall treasure my remembrance of Dame Margot’s dancing. Nureyev spoke of her thus: “I don’t care if Margot is a Dame of the British Empire and older than myself. For me, she represents eternal youth; there is an absolute musical quality in her beautiful body and phrasing. She is a great artist, and I have not met any woman dancer who has the femininity of Margot which for me is a superlative compliment equivalent to saying she is a goddess.” (Life magazine)
The Russian Maya Plesitskaya was a swan whose dying was sheer poetry.
I did witness the World Stars of Ballet’s initial performance at Aliw Theater, as also the later performance of London Royal Ballet’s David Makhateli who, in “Swan Lake” was Prince Siegried to Lisa as Odette-Odile. Doubtless, Lisa in that dual role was a brilliant match to any of the visiting ballerinas.
I failed to see what must have been soaring leaps and delicate body arcs in the second engagement of the World Stars of Ballet which was complemented by the rigorously disciplined, precise, clear dancing of Ballet Manila members. Filipinos should take pride in Lisa’s performance with some of the world’s top dancers, she being our own astounding — and still incredible! — ballerina.
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Having received an invitation from Vicky F. Zubiri, head of Filfest, a presentor of “Ang Bagong Harana”, I profoundly regret having missed the Opera Company of the Philippines’ second version of its program at the RCBC auditorium.
I was present at the initial production which, vastly impressive, convinced me of the OCP’s passion — indeed, obsession — to re-discover and reveal our identity through songs.
Filipinos are inherently musical. We must be the world’s most musical people! The compositions of Abelardo, Santiago and Molina as also those of George Canseco, Willy Cruz, Ryan Cayabyab, Levi Celerio, among others, are exquisitely lyrical. The POC is foisting our kundimans, folk and contemporary songs on the public to prove they are our very own, that they define our very soul.
Beyond doubt, the richly talented singers in “Ang Bagong Harana” sang their hearts out as they did the first time I listened to them in a program also conceptualized and directed by the authoritative and keenly perceptive Floy Quintos. Led by artistic director Karla Gutierrez, the other singers were Jack Salud, Al Gatmaitan, Nazer Salcedo, Charlene Magalit, Janine Santos, Lawrence Jatayna, Aizel Prietos, Marian Santiago and Marvin Gayramon.
Musical arranger was Paulo Zarate. Youngster Anton Marco Gutierrez Carlos is listed in the printed program sent me is one of the producers.
OCP should be avidly supported in its dedicated mission of preserving and disseminating what is our very own.