Upon consistent invitation, I have been attending Ballet Manila presentations, missing only the concert prior to the last, and regarding “Giselle†the most outstanding production. Now, “La Bayadere,†strongly vies for first place.
With music by Ludwig Minkus, choreography by Marius Petitpa, as re-staged by Osias Barroso, co-artistic director and ballet master, Eileen Lopez and Jonathan Janolo, “La Bayadere†had its various and complex elements so meticulously thought-out and executed that their convergence led to a spectacular show.
The splendidly descriptive sets by Janolo – a lush scene of Nature and majestic temples – complemented the elegant and eye-catching costumes. Alexander Vikulov, steeped in ballet music, conducted the Manila Symphony Orchestra of young but seasoned professionals and talented students (trained by regular conductor Arturo Molina) who enthusiastically responded to the Russian’s authoritative, dynamic baton.
But the main attraction of “La Bayadere,†from start to finish, was expectedly, the dancing itself. Enhanced by mime, it startled and amazed at Aliw Theater, as it recounted an exotic plot with touches of mysticism.
Prima ballerina and artistic director Lisa Macuja-Elizalde, as lithe, shapely and technically skilled as any ballerina half her age, portrayed Nikiya, The Temple Dancer (La Bayadere), her ethereal, filigree grace, lightness and elan, subtle expressiveness mesmerizing spectators.
The 28-year-old Russian Mikhail Martynyuk, miming eloquently, was magnetic as the warrior Solor passionately in love with Nikiya. He charged the stage with dazzling soaring leaps and soft landings which ended in a kneeling position. His multiple swift pirouettes were breathtaking.
Every pas de deux has Martynyuk lending assured, gallant support in astonishing lifts, Lisa conveying a feathery sight. Alternately, the duo danced languidly to lyrical music or in fiery fashion to dramatic music. What magical moments ensued!
Mylene Aggabao-Salgado, the Rajah’s daughter Gamzatti who is bethrothed to Solor, was bewitchingly pliant, refined and technically strong in her solos and duets. A fast-rising ballerina, she showed pizzazz, as did Dawna Mangahas, Joan Emery Sia and Jung Won Shin who, perky and fleet-footed, charmed as the Lead Shades.
Convincingly delineating their roles were Harold Salgado, the High Brahmin; Marcos Tolentino, the Rajah; Gerardo Francisco, the Bronze Idol; Alvin Santos, the Fakir; Rudy de Dios, Lisa’s impressive regular partner, was Solor’s alternate.
Against a grandiose setting, the act before intermission bristled with admirable, infectious dancing. Six uniformed figures who, standing still on a raised dais at the rear and occasionally assuming lively poses, immediately arrested attention. In nearly perfect precision and cohesiveness, the male ensembles exuded vitality, velocity, vibrance and, above all, virility as they raise their fists, stomped their feet, or whirled in electrifying propulsiveness.
The female ensembles, their arms in graceful arcs while exquisitely moving in straight lines or circles, executed entrechats, cabrioles, pirouettes, etc. in dainty, delicate unison. Long, disciplined, rigorous training and rehearsals were doubtless behind the impeccable over-all rendition by both groups.
The climactic final act opened with a vision of loveliness created by a Ballet Blanc. Twenty-four ballerina in white tutus, each taking exceedingly slow, tiny, measured steps, gently raising an arm and doing an arabesque, while emerging from a mountain peak — The Kingdom of the Shades — soon formed a shimmering white mass gliding or turning in marvelous togetherness.
Once more, Lisa and Mikhail enchanted viewers, dancing effortlessly as re-united lovers — Lisa’s rapid bourees giving the illusion of her gliding or floating – while brilliantly expressing ardent devotion for each other.
To long, rousing applause, participants and production staff took their bows repeatedly. Certain reservations could have been cited, but these were insignificant in view of how all cast members, especially the principal Lisa and Mikhail, contributed in qualifying degrees to the exhilarating — indeed magnificent dance spectacle.
Gala Verdi concert
Foreign and Filipino singers — Italian tenor Gian Luca Pasolini, Spanish baritone Alvero Lozano, and our own international baritone Andrew Fernando, tenors Lemuel de la Cruz and Ronan Ferrer, sopranos Margarita Gomez, Rachelle Gerodias, Thea Perez-Prosia and Nenen Espina — will render Verdi arias at a gala concert in the CCP main theater on Dec. 10. This was announced by Italian Ambassador Massimo Roscigno at a luncheon-press conference.
Scenes will be from various Verdi operas, with Raul Sunico integrating them into an artistic, enchanting, compelling whole.
Nedy R. Tantoco, who heads Rustan’s, one of the major sponsors of the gala concert, revealed how deeply concerned Mr. Roscigno was about its success, with no detail escaping him. He even checked on the costumes!