Korean, Phl dances in Duo fascinate, awe, dazzle!

In “Duo,” Korea’s Yewon Dance Co. and Ballet Manila performed jointly, first at Aliw, then at Star, with the Korean ensemble of 48 ballerinas and a single danseur rendering far more dances than the local. “Why did you allow this?” I asked Ballet Manila’s artistic director

Lisa Macuja-Elizalde. “Because they are our guests,” she quickly replied. Thus, gallantry, hospitality and generosity allowed the visitors to dominate both concerts.

In Pas de Quatre choreographed by Jules Perrot, four winsome, willowy ballerinas, holding a pose in perfect stillness, appeared like subjects of a Degas painting. Very slowly, the painting came to life as the ballerinas moved with filigree delicacy, refinement and grace.

In Variation from Paquita, choreographed by Ludwig Minkus, Eunhyee Lee, fluttering nimbly, was sheer poetry in motion. Indeed, a vision of delight. In Variation from Esmeralda, ballerina Jungyoon Shin conveyed exquisite fluidity, and neatness of execution.

The traditional Korean dances were flawless, impeccable in their precision and discipline which governed the last tilt of the heads, the angle of arms and legs. In flowing, ravishingly colorful and elegant costumes, the ballerinas awed and dazzled as they turned and

twirled in fantastic, rapidly changing formations.

Herewith were the two most striking traditional dances. Deftly waving and manipulating fetching, over-sized fans whose bright colors harmoniously blended with those of the costumes, the dancers formed circles, semi-circles, simulated undulating waves, their

constantly shifting configurations and patterns overwhelming the audience.

The other mind-boggling number had the ballerinas beating their huge drums in incredibly rhythmic unison and controlled volume, this alternating from infinitely soft to thunderously loud, dance and percussion creating a tremendous audio-visual impression.

The masked dance charmingly portrayed, through angular steps, dainty gestures and amusing masks, child-like humor, fun and mischief.

Having had a long exposure to Latin culture, our dancers — I hesitate to observe — would have exuded more élan, spirit and fire than the Koreans did when they rendered the Tarantella and the Spanish dances. Nevertheless, their interpretation evoked pristine classicism.

Without any stage setting, the audience focused its attention solely on the foregoing Korean dances.

Ballet Manila reprised “Prinsipe ng mga Ibon” (Prince of the Birds) as choreographed by Osias Barroso Jr. In its convergence of styles, the dominant idiom was balletic; in costumes and stage design, the influence was heavily Chinese.

Expressive mime told of a father adamantly rejecting his daughter’s feathered suitor — the Prince of Birds; the daughter, in turn, appealing for understanding. The villagers engage in brisk, joyous activity amidst the emotive characterization of the lovers.

Magical touches enhance the folk tale; e.g., the villagers dancing in semi-darkness, suddenly disappear without a trace as the lights come on. In another instance, the daughter is transformed into a bird while she is hidden from view by the villagers who betray no

evidence of the change. Finally, as a feathered creature, she flies with the Prince toward the heavens, leaving the audience amazed.

Yanti Manduli as the daughter revealed enormous promise; in technique and theatrics, Rudy de Dios lent splendid support as the Prince.

The father’s rejection of his daughter’s suitor was dramatically foisted on the viewers, while the music, culled from five divergent composers, interfered somewhat with the development of tighter integration of the folk tale.

In the vibrant ensemble dancing, the ballerinas were delightfully sure-footed; the danseurs, loftily air-borne in their jumps and turns.

“Reve” had two brothers in search of their identity. Ernest Mandap’s brilliant fusion of modern dance and classic ballet created a tightly-knit, powerful whole.

Interpreters Rudy de Dios and Gerald Francisco magnetized on-lookers with their superb control, virile exuberance and striking conversance with both dance idioms.

Initially, they moved as one, obviously to stress they are identical twins; then later, as two, each eloquently expressing his own personality.

Le Corsaire Pas de Trois to Petipa’s choreography featured Dawna Mangahas, Arnulfo Andrade and Elpidio Magat who all conveyed evident commitment to their art. Had Lisa been in this number, how she would have enthralled dance lovers as Ballet Manila’s luminous,

radiant, still unmatched prima ballerina despite her years!

For an illuminating unprecedented view of inherent similarities and strengths between two leading Asian ensembles, in brief, for the towering success of “Duo”, Lisa and Young Hye Jin warmly congratulated each other, as curtains closed, to deafening applause.