Last Friday I went to see ABT's new staging of Le Corsaire at Lincoln Center. I'd been looking forward to seeing a nice story ballet and was curious to see what, if any, changes had been made to this historically problematic romantic work. ABT debuted this newer version of Corsaire earlier this spring in D.C. with (roughly) the same cast that danced on Friday night: Paloma Herrera, Marcelo Gomes, Ivan Vasiliev and Sascha Radetsky. I had high expectations regarding the caliber of dancing. All of this, supplemented by some stunning new sets and costumes, promised winning performances from the nation's preeminent classical ballet company.
Le Corsaire faces problems all too common among full length classical works; there are too many characters, it is too contrived, the libretto is convoluted; extraneous and over long group dances and pantomime. Thankfully, this updated
Corsaire addresses most of these issues well. Some things are unavoidable when maintaining the integrity of a work as a historic piece, but, altogether, this staging was successful in simplifying the ballet and making it a bit more accessible. The first act was a tad confusing still, but the remainder of the ballet was commendably clear and interesting. I missed Medora's sailor suit dance, but I am predominately in favor of all the editing.
The climax of the ballet was to be found, unsurprisingly, during the pas de trois at the beginning of the second act. This trifecta of pure classical brilliance and jaw dropping virtuoso is precisely what we expect from
American Ballet Theatre: three artists, in their prime, displaying their talents with apparent ease and coolness.
Herrera made a wonderful Medora. Her extreme lines and supple quality of movement cultivated an exotic energy that perfectly fit the role of the lovelorn slave she portrayed. Technically, her variation was spot on, though her fouettes in the coda had a remarkably funny look about them. Interestingly, there seemed to be a noticeable increase in the height of her extensions as the night progressed, culminating in some truly breathtaking penchees and developes.
Without question,
Ivan Vasiliev stole the show. The nonessential part of Conrad's slave in
Le Corsaire has gained status as one of the most popular male roles in the classical canon, solely for the extremely athletic and increasingly challenging second act variation found during the pas de trois. Vasiliev's performance was phenomenal. His pirouettes were seemingly endless, and his sky high jumps coupled intricate leg movements and changes of direction which were executed with the refined coolness that marks a true classical artist.
In the fourth act, after Medora is kidnapped and taken to the Pasha's extravagant manse, the lazy slave owner takes a nap and dreams his garden has come to life and the flowers are embodied by his beautiful slave girls (plus a few dozen more), who perform a lovely ensemble dance for him. Here, the corps of ABT is given a chance to present their own strengths. The girls did an excellent job, each line was clear, every step was in sync and each tableau just so. Gulnare, danced by Stella Abrera, looked better in the beginning of the ballet. Here her movements seemed too grounded, her energy seemed to waver.
Throughout the ballet,
Marcelo Gomes' dancing is beyond reproach. He appeared almost weightless as he bounced across the stage. He was a strong and able partner to Ms. Hererra, and he was the epitome of male grace and strength that evening. My issue with Gomes' performance lies in his interpretation of Conrad, which, to be fair, is initially tricky. Conrad is the leader of the pirates, a criminal. Gomes danced the role as if Conrad was a prince. He is gallant and poised. I would have rather seen a darker and more conflicted Conrad. The ballet is already confusing enough without having to wonder why all of these scary pirates are being led by some princely type.
This production of
Corsaire was marvelously outfitted. The sets were all very well done. They were in keeping with the style and period of the original ballet, and also fit into the grand opera house aesthetic of the Met. I particularly enjoyed the sets for the Pasha's palace and the marketplace. The effects used during the tempest scene were also outstanding and the pirate shipped looked almost real. Great sets and costumes, alongside some spectacular dancing and prudent editing, made this version of
Le Corsaire one of the most enjoyable and accessible adaptations possible. A for
effort ABT.
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