Royal Danish Ballet in New York!
June 20, 2011
hearthrob, heartache, and transport in romantic treat
In 1834, when Bournonville was in Paris, he saw Philippe Taglione’s two-year old tribute to the great ballerina Marie Taglioni, La Sylphide. Two years later, he premiered his own version for the Royal Danish Ballet.
Cut to 2008 and Danish-born, New York City Ballet principal Nikolaj Hübbe retired to become RDB’s Artistic Director.
RDB made New York its final stop in their 2011 US tour and presented Bournonville on Hübbe’s home turf (the State, now Koch Theater). They had not been to NYC for 23 years.
The June 18 matinee began with Bournonville's La Sylphide. Susanne Grinder’s Sylph melded exquisite dancing with expressive mime, bringing us near tears when she cried at the foot of the stage. Marcin Kupiñski as James also fascinated with his airborne spring in steps that seamlessly unite Scottish folk and ballet.
Mikael Melbye’s stagecraft beautifully evokes the Romantic era. Nineteenth century novelist and poet Sir Walter Scott can be thanked for the woodlands, kilts, and bagpipes concept. The cast raises a giant candelabra. We are enchanted when the elusive Sylph flies up the fireplace flue in Act I. After standing in an open window, she appears to float to floor level en pointe, with the help of a barely visible mechanical lift. (The 1988 DVD of Hübbe dancing Sylphide at the Royal Theatre Copenhagen has no lift for that entrance of the Sylph.)
Six children front the corps of twenty or so dancers in Scottish dress. In a twisted love triangle, Gurn (Alexander Stæger) loves Effy (Louise Østergaard) but he is stuck dancing with one of the little girls because Effy is promised to James (who’s torn between her and the Sylph.) Effy finally has to give up on weak-willed James.
Meanwhile in Act II, the witch Madge (Mette Bødtcher) and her sisters stir a mean brew. She claws a stick and drags it through the steam until she's conjured a poison-soaked wrap. Well-meaning James envelops the Sylph in the fatal scarf in hopes of catching her, but instead the poisonous brew blinds her and she lies in a heap like a dying swan. We raptly watch her posthumous journey across the stage’s upper stratosphere, surrounded by attendants in a diaphanous cloud coach.
Herman Severin Levenskjøld's slow romantic violin music builds suspense. Graham Bond conducts the New York City Opera Orchestra. We imagine ourselves at the source of Bournonville style and technique. The ballet inspired Michel Fokine's 1908 Chopaniana—Diaghilev renamed it Les Sylphides—an abstract ballet blanc with white tulle costumes and meditation poses.
Speaking of updates, the 1988 witches coven looks androgynous or at least partly male. Bournonville was about bringing men into the ballet fray. In his day, it was possibly emasculating to see real women’s strength. Only fairies and witches could have power that detracted from men’s efforts. And today? It is silly and charming to watch James with his head in the clouds— surely his type is extant. Østergaard’s Effy takes care of herself like a modern woman.
Napoli via Vespa
Another intermission cleanses the palate. Hübbe made major changes in Napoli and added his name and Sorella Englund's to Bournonville's as Napoli choreographers. We see the joyous Act III. The matinee heartthrob is Alban Lendorf as the fisherman Gennaro. He is hefty and strong with boyish charm and impeccable presence and technique. His larger-than-life leaps are unassuming, in the Bournonville manner.
In Mikki Kunttu's lighting design, the dancing is front and center; throughout, it is the strongest among strong elements. Hübbe removed religious references, but a grotto with a Mary figure and many glowing candles is a constant presence in Maja Ravn’s eclectic set, with its bright, even garish touches and vertiginous perspective. The leaning tower in the background recapitulates the dancers seesawing jumps. Hübbe snuck in Felliniesque characters. A cigarette dangles out of a dancer’s mouth and the odd man in prison stripes tries to jump into the action; the general Bacchanalian atmosphere admits all. Hübbe's surprise ending has Gennaro and Teresina (American expat Amy Watson) perched on a shining, Naples yellow Vespa! Classico!