'Serenade' and 'La Sylphide' at The Boston Ballet
Two ballets that feature women in gauzy tutus en pointe, adored as they flit across the stage, and even into the air in one of them, officially opened the Boston Ballet's 44th season at The Wang Theatre on Thursday night - George Balanchine's "Serenade" and the 19th century classic, "La Sylphide" - but the parallels end there.
"La Sylphide" is a story ballet, its choreography designed to further the plot-line and characterizations. Balanchine's "Serenade," an homage to the spirit of Romantic ballet, is decidedly 20th century in its abstraction, devoted to the premise of presenting movement for its own sake, and taking its cues from Tchaikovsky's score (Serenade in C major for String Orchestra).
Both ballets are staples of Boston's repertory, however, unlike past years, when the company faced a long lay-off between their May performances and September start-up, the dancers have had a warm-up for this new season: a six-week summer tour to the festivals of Spain. It's been reported that our home-team charmed the sold-out, cheering audiences, which included Queen Sofia and the Finnish ambassador, in presentations of two different programs of repertory that included "La Sylphide" and "Serenade" plus two more Balanchine works.
In addition, last weekend's gala, "Night of Stars," a three-hourlong evening of dynamic bits and pieces, performed by the company, members of BB II, and students from the school, served as a preview of a troupe that looks to be dancing with confidence and even a bit of panache.
The first surprise on Thursday night, unexplained, was the last-minute replacement of Larissa Ponomarenko, for Lorna Feijoo, as lead dancer in "Serenade." The two women are arguably the company's leading ballerinas, but could hardly differ more in temperament and effect. Ponomarenko, for all her steely technique, is a waif-like creature, with long blond hair that she loosened to flow around her shoulders in the final segment of "Serenade." Her performance only underlined the other-worldly aspects of Balanchine's ballet, as she stepped, trance-like, through the swiftly changing patterns. She was more than ably supported by Melanie Atkins, a powerhouse in the shifting balances of Balanchine's choreography, and Lia Cirio, who moves in wide expansive stretching of her limbs. In contrast, "La Sylphide" is a 19th century classic and always tells the same story, about James, the Scottish farmer, who falls in love with a woodland sylph or fairy on his wedding day to Effie, a sturdy peasant girl. He runs afoul of the local witch, Madge, when he orders her from the fireplace where she has come for warmth and a bit of the celebration. Madge takes revenge on the would-be bridegroom, making the innocent Sylph victim of the conflict. The tragic ending suggests the folly of an ordinary man looking beyond his station and responsibilities.
The Boston Ballet's production follows the Danish version, choreographed by August Bournonville in 1836, to music by Herman Lovenskjold, and reset on our troupe by Sorella Englund, a contemporary member of the Royal Danish Ballet. The buoyancy of the choreography, in the Sylph's first appearances and the zesty folk-dance reel for the corps de ballet are signatures of the Danish style.
At center stage, of course, is the Sylph, in her lightness and careless appropriation of another woman's man. Erica Cornejo, formerly a soloist with American Ballet Theatre and new to Boston last season, is a lovely dancer, but, alas, too much of flesh and blood for a fairy made of light and air. However, she proved her worth in the death scene that she built to the end with a slow, piling on of details, first losing her sight and then her life. There was too little chemistry between her and Roman Rykine as James, over conservative in his actions. These are roles that cry out for recklessness. Reyneris Reyes as Gurn, also in love with Effie, might have been more compelling as the male lead. Kathleen Breen Combes as Effie made a down-to-earth contrast to the Sylph, especially as she tried to woo the reluctant James back into the folk-dance circle. The corps de ballet, with the fine addition of some children from the school to add to the sense of community, displayed the pride and ebullience of the Scottish highlanders at play.
Elizabeth Olds, a former dancer with the Royal Winnipeg Ballet who holds a day job as artistic director, Mikko Nissinen's assistant, returned to the stage as a glamorous, hard-drinking Madge, somewhat younger than usual but persuasive in her drive for revenge.
The company is dancing well, but I missed seeing some of the younger talents being groomed by Nissinen in the spotlight. The program repeats this weekend and next, with changes of casts in the principal roles.
SERENADE and LA SYLPHIDE
The Boston Ballet. At Citi Performing Arts Center Wang Theatre, 270 Tremont St., Boston, through Oct. 28. Tickets, $45- $110 at citicenter.org or 800-447-7400.