wish I could volunteer for Mr. Cote,
Not even a quickie pas deux?
I may attend Sunday’s matinée to see Heather Ogden’s emerald.
John Coulbourn enjoyed Jewels – Perhaps a little too much. He wrote the ballet started off with Rubies and not Emeralds.
Rubies, which opens the evening, could be considered an homage to the legacy of French classicism, set as it is to the music of Gabriel Fauré, while Rubies, which follows, has a distinct American edge to it, highlighted by the music of Igor Stravinsky.
…The minute they hit the stage, they shed all the hours of hard work that go into making a good dancer and instead embrace the sense of play that marks a great one.
If Jewels is indeed a treasury of Balanchine’s genius, then on this night, Diamonds was, without a doubt, its crowning glory.
Michael Crabb is slowly beginning to appreciate the talents of the very lovely Heather Ogden!
Though somewhat restrained in his prose, he obviously enjoyed her performance!!
If Balanchine had had the good fortune to set eyes on Heather Ogden he would have instantly been on his knees. Ogden, the lead in “Emeralds,” has a natural affinity for his choreography that is as much visceral as thoughtful. She quite simply gets what he’s all about and never lards a performance with phony emotion. She lets the steps, transmuted through her expressive body, do their business.
I could not agree more! I made my appearance for Miss Ogden’s ruby last night and I’m happy to report she absolutley glowed. There’s always a buzz before, during, and after her time on stage. She certainly takes advantage of every precious moment. Heather Ogden is the crowning jewel for the National Ballet of Canada!
Crabb goes on to share an interesting story about the ballet’s choreogapher and his penchant for giving.
Balanchine, notoriously, was quite the lady’s man. In a more forgiving and less litigious age than ours, he was wont to give his favourite ballerinas different perfumes so he could sniff their location around the theatre. “Ballet,” he once famously declared, “is woman.” Jewels can therefore also be read as personal love letters to the lustrous ballerinas for whom he created the work.
Paula Citron committed a ballet sin daring to criticise perhaps the greatest choreography of past, present, and future!
Not every choreography by the great Russian/American master George Balanchine is perfect. (I can hear the howls of Balanchine fanatics over this heresy, but I remain unapologetic.) His full-evening Jewels is a case in point. No matter how well the work is performed--and the National Ballet of Canada gives the piece a very fine showing--there is no way to get around its uneven quality.
Obviously, Miss Citron is unaware who the Artistic Director of the National Ballet of Heaven is!
The big problem is that the sassy Rubies, the middle section of the triptych, outstrips its fellows by a country mile. It is, as a result, the most popular of the three and the most performed independently.
Very true but did you ever think Mr. B did this on purpose to make Rubies standout all the more? In my view he choreographed the personality of the gems to perfection.