Ballet Geek

“A Beaming Whirlwind of Energy”

The San Francisco Sentinel published an interesting interview (Oct. 2007) with Pascal Molat, Principal Dancer of the San Francisco Ballet.  Sean Martinfield, the San Francisco Sentinel’s Fine Arts Critic described Pascal Molat as “beaming whirlwind of energy” and anyone who has seen Molat dance is bound to agree.  Originally from Paris, Molat joined the SF Ballet in 2002 after dancing with the Ballet of Monte Carlo. I especially like Pascal Molat’s description of why ballet is good for him:

It was a good idea because – first of all, when you are young, you have a lot of energy. What Dance brings you is discipline, how to catalyze this energy, and how you can control it. This energy you have? Offer it. And how you are going to offer it. Why – with the first time I went on stage – suddenly, I loved it? Because it was like a sharing. I was having pleasure. I was feeling Good. At the same time I was giving good energy to this audience and they were giving it back to me at the end. So, it was a sharing. This is why. When I was in the Paris Opera [the School of the Ballet], what they try to do to is make you understand where to put your energy. How discipline, like you said, when they are on stage – is about being focused. Put your energy there. You can learn to become focused just by walking on stage. That is what makes all the difference. That is the Why – in everything that you do in your life. It is the same thing. How focused are you going to be? What is your envy? What do you want to give? What is the purpose of what you are doing? What is the meaning? If you ask all those questions to yourself and if you respond to that – at one point – you know what you want to give. When they understand, it’s – “Wow! That’s great!” They understand it’s …  

Read the full interview with Pascal Molat at the SF Sentinel. 

Review of San Francisco Ballet’s Production of “Giselle”   -  19 February 2008 - San Francisco Opera House 

San Francisco Ballet Artistic Director Helgi Tomasson’s production of “Giselle” is classic mythological story-telling in its highest form. A romantic ballet invoking supernatural powers to express unattainable love, perfection and beauty, Tomasson’s “Giselle” captivates the heart and reaches new heights of dance performance.

Giselle is story of a young peasant girl who falls in love with a strange young man, who is secretly a prince and engaged to a noble woman, the realization of which causes Giselle to go mad and die, and the men who loved her to be haunted by the tragedy of her young death.

Maria Kochetkova was exquisite as Giselle, a role that seemed created just for her and her innocent petite persona.  On her opening night in San Francisco as Giselle, Kochetkova effortlessly flitting across the stage like a hummingbird, never seeming to touch the ground.  Although a young dancer, Kochetkova demonstrated “old school” Russian technique with the high level of technical skill she brings to a performance. 

Anita Paciotti as Giselle’s mother, worries about her daughter’s strong passion for dancing.  She warns Giselle that she will become one of the “Wilis”, those girls who died before their wedding day that are forced to spend eternity dancing.  The “Wilis” myth is fascinating: the beautiful but soulless dancing girls who tempt men into their demise under the moonlight.

Katito Waldo, as “Myrtha the Queen of the Wilis”, who appears after Giselle’s death to initiate her into the Wilis sisterhood, projected a strong and cool queen.  Waldo’s Myrtha was smooth and controlled, without the warmth of a mortal.  The vivid scenery of the moon-lit forest felt other-worldly, as Waldo led the 24 other Wilis, dressed in all-white bridal gowns and veils, in a ghostly dance above the lake as they floated in arabesque.

Pascal Molat shone as “Hilarion”, Giselle’s other suitor, the Bad Boy, always lurking behind the scenes and frequently brandishing his sword, — but sincere in his affection for the village maiden.  One of the ballet’s most intense moments was when the dominating Queen Myrtha commands Hilarion to dance to his death and casts him in the lake.  Expressive of a broad range of emotions, Molat’s acting skills are on par with his extraordinary dancing, making him one of the most fascinating character actors in the San Francisco Ballet.

The pas de deux in Act II between Giselle and the Prince, performed by Joan Boada, was another delight.  Boada’s princely carriage and muscular legs supported Kochetkova in a series of daring fast spins while she balanced on pointe.  Boada looked like a giant next to the tiny Russian who seemed light as a feather as he lifted her progressively higher into the air. 

But even as Giselle and the upright Prince danced joyfully around in their merriment, we can’t help but wonder, “where is that Bad Boy, Hilarion, and his sword?”

Perhaps the ballet’s most tragic figure is Hilarion, who gets a raw deal for his affection: death.  After all, it was “Mr. Perfect Prince” who was the two-timing playboy.  Although less refined than the Prince and guilty of jealousy, Hilarion was a man of genuine feeling, and concern that his fair maiden was being deceived by a stranger.

“Giselle” demonstrates that through dance we can convey complex emotions like jealousy and betrayal and higher ideals like redemption and justice.

Every time I see this ballet, the story reveals something new from the different interpretation.  I remember Yuan Yuan Tan’s performance last year as Giselle to be perfect (as always), and I especially found the dance where Tan’s Giselle goes mad to be quite compelling.  However, given Kochetkova’s tiny, child-like statue, her Giselle seems more true to the story of the ballet and brings a level of believability to the character I hadn’t seen before.  I couldn’t help but notice the smallness of Kochetkova’s delicate fingers as she plucked imaginary flower petals while going mad from her lover’s betrayal.

The musical score, composed by Adolphe Adam, is one of ballet’s finest.  I was so inspired by the score that I bought the CD of the music in the lobby of the UK Royal Opera Ballet immediately after I saw my first “Giselle” in London.

Several extraordinarily talented choreographers have contributed different parts of the dance over time to create today’s superb production.  Although the story is ancient, the ballet premiered at the Paris Opera Ballet in 1841 with its original choreography by Jules Perrot and Jean Coralli.  Marius Petipa later made it a classic, and Helgi Tomasson’s refining touches have now elevated this production of “Giselle” as the culmination of 160 years of ballet artistry.

The story of “Giselle” is already rich with metaphor and meaning, but combined with the choreography, staging, and performances of these dancers, Tomasson’s production of this classic ballet takes on mythological proportion.  

See also the reviews from Sean Martinfield and Rachel Howard. 

 You may be a ballet geek if you find these dance company - artist contracts  interesting.  They are made available by the American Guild of Musical Artists.  The attorneys at Imagine Law published an article about the San Francisco Ballet Dancer’s Basic Agreement: “The Contract Behind the Curtain”.

Here is a video on YouTube of a very young (but still amazing) Yuan Yuan Tan, Principal Dancer for the San Francisco Ballet.  She is reported to be 16 years old and went on to win this Taoli National Dance Competition (Junior Division).  Also check out this cool video of Yuan Yuan Tan, Liu Yan, and Yang Liping dancing on Chinese TV - so beautiful. 

Program 1:  3 February 2008 - “Superbowl Sunday” at the San Francisco Ballet

Act I: “Filling Station”

While the rest of the country was glued to the television watching the Superbowl, San Francisco Ballet soloist James Sofranko wowed War Memorial Opera House without the aid of padding, steroids, or a need to rest between leaps with his performance of “Mac, the filling station attendant” in the quintessentially American ballet “Filling Station.”  Originally choreographed in 1938 by Lew Christensen, one of the three brothers instrumental in the founding and development of the San Francisco Ballet, George Balanchine changed the end of the ballet from a tragedy to a comedy decades ago.

Sofranko performed difficult leaps that would have made former NFL football player and ballet dancer Lynn Swan proud on “Superbowl Sunday”.  Originally from Indiana, Sofranko was promoted to the rank of soloist this year after seven years dancing with the SF Ballet.  Benjamin Stewart was also delightful in his role as a truck driver who stops into the station for a fill-up and becomes involved in the frenzied activity, which includes visits from a vacationing family, intoxicated flapper-girl, and eventually hold-up by a gangster.

In a rare “ballet-comedy,” the music of Missouri-born composer Virgil Thomson carried the day and Val Caniparoli did a fine job filling-in as the “Rich Man” accompanied by his drunken companion played by Pauli Magierek.  Although the ‘rich drunk couple’ became old after several minutes, there were some truly funny moments and the “flashlight dance” that followed, and the state trooper shooting the gangster at the end kept things interesting – and very original.

Act II: “7 for Eight”

For me, the highlight of today’s performance was the choreography in Act II of “7 for Eight” by Helgi Tomasson, Artistic Director of the San Francisco Ballet.   In 7 movements to a complex Bach piece performed by 8 dancers, Tomasson kept the action constantly moving and interesting.  Always a pleasure to watch dance together was Yuan Yuan Tan and Damian Smith in a beautiful pas de duex, and I enjoyed the exciting solo movement by Pascal Molat, who spun so fast and deliberately, the wind in his hair seemed to dance with him.  Principal dancers Kristin Long and Joan Boada partner especially well together, and their performance in the 2^nd movement reminded me of why.  Such grace, such synchronicity of movement, and such similarity of body-types make these two a perfect match every time.

SF Ballet corps dancer Dores Andre distinctly shone in the 3^rd and 4^th movements of the piece.  A Spaniard, Andre just gets better and better each time she dances; and I will never forget her show-stealing performance in 2006 as the adorable “Puss” from the fabled “Puss and Boots” in Tomasson’s ballet “The Nutcracker”.

The classical black and white costumes and subdued lighting with shadows for “7 for Eight” added an elegant touch to this lovely piece.  I first saw this ballet in 2004 (when it premiered) and I loved it then too.  I look forward to seeing more companies adding this piece to their repetoire and watching it become a classic over the coming years.

Act III: “Diamonds”

Finally, a chance to see SF Ballet Principal dancer Tiit Helimets perform this year.

Act III was “Diamonds” from a ballet choreographed by George Balanchine called “Jewels” that premiered in New York in 1967.  The ballet expressed romanticism and softness, despite the stark white costumes, saddled with diamonds, and the opulent chandeliers.  Peter Ilyich Tchaikovsky composed the music and former NY City Ballet principal dancer Suzanne Farrell provided additional coaching, which was originally created for her.

Estonian born Helimets paired with principal dancer Sarah Van Patten, who is in her first full year as a principal dancer in San Francisco for this ballet.  Helimets performed 24 perfect pirouettes, and Van Patten demonstrated difficult pointe work as this piece moved quickly through its movements. 

Thirty-two company dancers backed them up, creating intricate shapes moving across the stage in geometric forms behind and around Helimets and Van Patten, as conductor Martin West led the orchestra to its final crescendo.

I felt sorry for all the San Franciscans at home watching The Superbowl on television, while this super dancing lit up the stage.

Review of the San Francisco Ballet’s 2008 Season Opening Night:

Diamond Gala Celebration: A Tradition of 75 Years of Excellence in Dance

Opening Night of the 2008 San Francisco Ballet displayed a spectacular showcase of nine stellar performances in three acts, a fitting beginning to the 75th anniversary season of the oldest ballet company in the United States.

The SF Ballet’s “Diamond Gala Celebration” included surprises like appearances of SF Ballet alumni dancers such as Jocelyn Vollmar, the first ballerina to perform as the “Snow Queen” in “The Nutcracker” in the United States. Vollmar danced with the SF Ballet from 1939 – 1948 and later taught at the SF Ballet School. While she no longer danced across the stage, Vollmar still appeared a queen on opening night with her snowy white hair and glowing white gown.

In colorful costumes, principal dancers Rachel Viselli and Damian Smith performed “Elite Syncopations” a playful number set to ragtime music composed by Scott Joplin. A very special treat for the crowd, the duo danced as 15 retired SF Ballet dancers watched from the stage. I was thrilled to see SF Ballet alumni dancer Yuri Possokhov take a turn on the Opera House stage once again. A strong and powerful Russian, Possokhov was one of the world’s most talented male dancers before he retired from the stage two years ago. These days, Possokhov is setting the world on fire with his innovative choreography as the SF Ballet’s Choreographer in Residence. And I was pleased to get a glimpse of another beloved alumni dancer, the majestic Muriel Maffre, who retired from the SF Ballet last year at the top of her game and after an amazing 17-years of dancing with the company.

It’s always a treat to watch the company’s French men dance together, and opening night was no exception. Principal dancer Pascal Molat had the audience on the edge of their seats as he called “Maestro!” to conductor Martin West to queue the musicians for the SF Ballet premiere of “Alles Walzer.” “Alles Walzer” is an exciting and energetic ballet choreographed by Renato Zanella, set to Stauss, and performed by Molat and fellow Frenchman principal dancer Nicolas Blanc. The duo reached impressive heights as they bounded across the stage and demonstrated their usual precision-timing with fast and furious turns that left me breathless just from watching them. Molat romanced the adoring audience with his charismatic smile and giant leaps across the stage.

Opening night’s break-out performance came from Pauli Magierek in the world premiere of “The Energy Between Us”, an edgy modern ballet choreographed by one of today’s hottest choreographers, 25-year-old Wade Robson. The ballet also marked the debut of new soloist Julianne Kepley, who recently joined the SF Ballet from Chicago’s Joffrey Ballet. Regular San Francisco dancers Jaime Garcia Castilla, Frances Chung, Rory Hohenstein, and Matthew Stewart also gave inspired performances in this exciting new ballet, and the audience loved it. The funky bright red and blue costumes were designed by Amanda Robson, wife of the Emmy-award winning choreographer. The ballet’s fresh “trip-hop” music was composed by the French electronic music group TelepopMusik. “The Energy Between Us” is a ballet to watch for. Indeed the energy between the artists and the audience in San Francisco’s Opera House during the world premiere of this ballet was electric — and I felt lucky to be there.

In the pas de deux from “La Esmeralda,” Artistic Director Helgi Tomasson showcased his company’s newest principal dancer, tiny Moscow-born Maria Kochetkova, who trained at the Bolshoi School and danced with the Royal Ballet and the Russian State Ballet before joining the English National Ballet in 2003. Kochetkova was well-paired with spicy Cuban principal dancer Joan Boada; and the couple exhibited great athleticism, including a breath-taking series of pirouettes on pointe by Kochetkova, and a number of ferocious leaps and powerful turns from Boada.

No SF Ballet Opening Night Gala would be complete without a performance from San Francisco’s prima ballerina, Yuan Yuan Tan, who was born in Shanghai and has danced with San Francisco since 1995. In the third act, Tan danced with her frequent partner Damian Smith in the SF Ballet premiere of “Distant Cries” a beautiful pas de duex from choreographer Edwaard Liang, with music by Albinoni. The pairing of Tan and Smith continues to get better. Smith seems to lift Tan higher each year, providing all the more air with which to showcase Tan’s remarkably long, straight lines.

Another high point of opening night was the San Francisco Ballet premiere of “Secret Places”, a romantic, almost dreamlike dance choreographed by Parrish Maynard and set to Shostakovich’s “Piano Concerto No. 2 – andante adagio”.  A native of Thailand, Nutnaree Pipit-Suksun danced with grace and elegance, her lovely shoulders and arms moving musically with pianist Roy Bogas’ fingers.  A new addition to the company in early 2007, Molly Smolen gave her best performance yet on opening night in “Secret Places” with pirouettes so smooth, she seemed on glass.  SF Ballet corp dancers Aaron Orza and Brett Bauer matched Smolen and Pipit-Suksun with fine performances in this inspired, gentle piece.

A welcome revival from the 2007 season, the pas de deux from “Carousel (A Dance)” with its popular music (“If I Loved You”) by Richard Rodgers, and its dramatic choreography by Christopher Wheeldon was enchanting.  The lithe body of principal dancer Sarah Van Patten handled the challenging back-bends with ease, as Pierre-François Vilanoba ably lifted Van Patten meters into the air.  Perhaps the only drawback to this lovely pas de deux was that we didn’t get to see enough of what else Vilanoba can do with this choreography’s focus on dramatic lifts.

Principal dancers Katita Waldo from Spain and Russian Gennadi Nedvigin were in fine form opening night with their performance of Helgi Tomasson’s sexy ballet “Two Bits”.  Quick-paced pirouettes by the pair and spectacular leaps from Nedvigin did justice to this local favorite.

Noticeably missing from opening night’s casting were SF Ballet principal dancers Estonian Tiit Helimets and Lorena Feijoo, originally from Cuba and reportedly out with an ankle injury.  2007 season stand-out, soloist Elizabeth Miner, was also disappointingly absent from the 2008 season opener. The company’s loss of Gonzalo Garcia was also felt after the talented principal dancer left at the end of last season to dance with the New York City Ballet.

Other noteworthy performances from opening night included the pairing of principal dancers Vanessa Zahorian and Davit Karapetyan in “Delibes Suite”, a ballet in which Zahorian hopped across the stage on pointe with remarkable grace. Zahorian and Karapetyan were successfully paired again in Balanchine’s “Finale from Diamonds”, an appropriate finale to the Diamond Gala Celebration.

[*see photos from SF Chronicle of opening night]

Here is a link to a video clip of the infamous dance, “Let’s Face the Music and Dance” from the 1936 movie-musical “Follow the Fleet”.

The stylish Fred Astaire and Ginger Rogers dance to a classic Irving Berlin song, with choreography by Hermes Pan, Astaire’s long-time collaborator.  The message of “Let’s Face the Music and Dance” is timeless, although it was particularly relevant for 1936 American audiences, in the middle of the Great Depression.

My favorite part of the dance is the very end: the dramatic final high kick before Fred and Ginger lunge off the stage together.  The dance itself if beautiful; but Ginger’s stunning beaded gown steals the show.  The translucent gown is reported to weigh 25-pounds from all the beads that its creator, Bernard Newman, had sewn into it.  It is the heavy weight from the beads that gives the dress such personality and flow.  But you can see the sleeve of the gown hit Fred in the face (at about 5:15 into the video).  Although he handled it like a pro, Fred later said in an interview that he didn’t remember dancing the rest of the number after the heavy dress whacked him.

Besides some great song and dance numbers, “Follow the Fleet” also includes rare performances of a very young Lucille Ball and Betty Grable, and is set in 1930’s San Francisco.  The movie-musical was so enjoyable, we bought a copy of the DVD as a gift for my in-laws last year.