Los Angeles stands as a vibrant center for dance, not strictly defined by major ballet companies but by a multitude of smaller, dynamic companies across various styles.
This past weekend showcased the city’s diversity in dance with three distinct performances, each reflecting its unique audience and setting.
At the Segerstrom Hall in Costa Mesa, the Miami City Ballet unveiled its recent production of “Swan Lake,” a classic piece set to Tchaikovsky’s beloved score. This marks the beginning of a summer filled with various interpretations of this iconic ballet, including Boston Ballet’s performance at the Music Center.
Meanwhile, San Francisco Ballet is poised to contribute to the festivities with excerpts at the Hollywood Bowl as part of the Los Angeles Philharmonic’s “Tchaikovsky Spectacular.”
In the Fairfax district on a Television City soundstage, the American Contemporary Ballet (ACB) offered a different experience with George Balanchine’s modernist classic “Serenade,” complemented by a new work from choreographer Lincoln Jones, the company’s founder.
On Saturday evening, a collaborative work by violinist Vijay Gupta and dancer Yamini Kalluri unfolded at the Sierra Madre Playhouse, blending Bach’s music with the Indian Kuchipudi dance tradition.
Miami City Ballet has garnered attention for its historically informed production of “Swan Lake,” based on choreography by the celebrated Bolshoi-trained choreographer Alexei Ratmansky. His version is an attempt to reconstitute the 1895 staging from the Mariinsky Theater in St. Petersburg.
The term “historically informed performance” (HIP) has often created debates in the art community, particularly as it relates to re-enacting 18th-century pieces like Handel operas. Initial attempts often resulted in dull performances, prompting a shift towards employing historical instruments in more vibrant and contemporary interpretations.
Ratmansky’s reconstruction of “Swan Lake” seems to aim for this very balance between modernity and tradition, albeit with mixed results. The performance commenced with the Pacific Symphony playing Tchaikovsky’s introduction in a dimly lit hall, designed to transport the audience into another world.
However, the use of a modern orchestra alongside bright audience phones pulled viewers back into the present. The authenticity of late 19th-century orchestras, known for their lighter and spirited timbre, contrasted sharply with the stark opulence of the staging and choreography when the curtain rose, somewhat bringing to mind a cluttered antique shop.
Despite initial disorientation, Ratmansky’s work is important. The ballet remains fluid in interpretation, as evidenced by Tchaikovsky’s revisions before his death. This openness allows for numerous adaptations, cultivating an environment where embellishments often feel like additional burdens rather than enhancements.
Ratmansky’s reconstruction offers a fresh lens through which to engage with both the ballet and the nature of ballet itself. The swan acts display a delicate elegance. Performers Cameron Catazaro, as Siegfried, and Samantha Hope Galler, inhabiting both Odette and Odile, displayed movement that, once in motion, transcended their initial portrayals into captivating symbols of art.
A leap by Siegfried and the Black Swan’s robust 32 fouettés exemplified the power of movement to carry meaning, despite surrounding distractions.
In contrast, Balanchine’s “Serenade,” created in 1935, sought to redefine ballet under a new philosophy. Utilizing Tchaikovsky’s “Serenade for Strings,” Balanchine’s work eschewed narrative for pure aesthetic exploration.
American Contemporary Ballet’s performance brought to mind Balanchine’s impact on dance, as it took place in close quarters reminiscent of the setting where Balanchine grasped his early Hollywood roots.
With the audience seated closely on bleachers near the stage, this intimate setup fostered an immediacy that highlighted the technical precision required to realize Balanchine’s choreography.
“Serenade” itself preceded a premiere performance titled “The Euterpides,” choreographed by Lincoln Jones with music by Alma Deutscher, a talented 20-year-old composer whose past works include a successful opera.
Each segment of “The Euterpides,” influenced by the spirits of classical Greek muses, plays off of a whimsical Viennese waltz. Although the piece harkens back to Tchaikovsky’s sound, Deutscher incorporates contemporary techniques to flesh out individual muse portrayals.
Jones’ choreography draws from Balanchine’s legacy, employing a strong dance vocabulary that brings the muses to life alongside their male partner.
A stark contrast is evident in the performance by Vijay Gupta and Yamini Kalluri, where an enticing blend of cultures and traditions is encapsulated in their collaboration, “When the Violin.”
During this special performance, Gupta plays Bach’s solo Violin Partita No. 2 and Sonata No. 3 alongside Kalluri, who interprets these works within the framework of Kuchipudi.
Gupta, a well-known figure in the Los Angeles music community, invites connections across cultures through the rhythms and moods expressed within his performance. His transitions between historical and modern styles reveal a seamless intersection of music and movement.
“Bach’s pieces flow gracefully into one another, led by Esmail’s evocative composition, weaving a tapestry that links Bach, Indian music, and Kuchipudi dance,” Gupta’s performance resonates deeply within the intimacy of the Sierra Madre Playhouse, showcasing the profound interconnectedness that reigns within the arts.
In experiencing the weekend’s performances, one cannot help but recognize that regardless of the styles or settings represented in Los Angeles’ vast dance landscape, the beauty of connections remains an essential thread binding this artistic community together.
image source from：latimes
