Program 7 -- San Francisco Ballet Performance
Program 7 -- San
Francisco Ballet Performance
April
13, 2013
There were three separate ballets on Program 7. The first was
called Criss-Cross, choreographed by
Helgi Thomasson. This is a celebration
of beauty and grace, superbly performed by the San Francisco Ballet dancers. It is lively and energetic. The first section is done against the music
of Domenico Scarlatti, arranged by Charles Avison, and the latter part is done
to the music of Arnold Schoenberg, taking off on George Frederic Handel. You don't have to think too much for this
one. It is visually interesting and the
mood is upbeat. The highlight for me
were the two male-female duets. The
first was beautifully romantic and elegantly performed. The second one in the latter half of the performance
was more somber, almost languid. The
choreographer seemed to be listening to the music when he composed this. The dance was well suited to the musical
score, which is something I like to see.
It is a solid, enjoyable, well-executed performance that does not
challenge too much.
The second ballet was Francesca
da Rimini, choreographed by Yuri Possokhov.
This was my favorite of the three.
The set, lighting, special effects, costumes and choreography are
interesting and imaginative. The dancing
fits well with the music, which gives a feeling of solidity and stability. This one is supposed to have a minimal story
line, although this staging is not concerned over much with telling a
story. It is actually dominated by a
duet which is done to powerful effect.
It contrasts with the duets in the previous ballet in that this duet is much
less romantic. It is sensual, even
lurid. One does not get any sense of an
illicit affair in this performance, which is the original story line. Supposedly Francesca falls in love with
Paolo, the younger brother of her husband, Gianciotto, who is supposed to be
ugly and crippled. The tall, robust
dancer who plays Gianciotto, Vito Mazzeo, doesn't exactly fit that
description. He does discover the lovers
and murders them, true to the original script, but then Possokhov gives it a
twist, which I think is a great improvement.
Instead of the adulterous couple being consigned to Hell, as in Dante's Inferno, Gianciotto, the jealous
murderer is dragged off to Hell. I like
Possokhov's conception better and congratulate him on his modification of the
story.
The Symphony in Three
Movements by Igor Stravinsky rounds out the program. It is choreographed by George
Balanchine. It is imaginatively done,
with lots of visual activity and interesting configurations that blend and
morph in interesting ways. This is one
where the dance does not well reflect the mood and temper of the underlying
music. There is a lot of distress in
this music, but the choreography seems oblivious to it. The choreographer seemed to have his own
agenda and he wasn't going to let the music get in the way of it. The
dancing is generally more positive and energetic than the music. This one is interesting to watch. It has complexity and many different elements
that work together smoothly. It is well
thought out from the point of view of the choreography, but it was clearly not
conceived from the music as the starting point.
I had the sense that the dancers like doing this one. I could feel a vigor and enthusiasm from them
that seemed inspired by the work itself.
This seems to be one they would choose to do themselves.
Generally an enjoyable, stimulating performance with lots of
visual interest, imaginative staging, good positive energy and first rate
dancing by the San Francisco Ballet dancers.