Pittsburgh Ballet Theatre opened its 50th anniversary season on a traditional, seemingly safe note with its production of “Giselle” at the Benedum Center.
But it proved to be more than that as alumni dancers descended on the city for the anniversary to view a special film tribute before each performance and attend several receptions. Also, principal dancer Luca Sbrizzi gave his final performance on Saturday, with family and company members contributing to a flower-filled bow, accompanied by an extended standing ovation.
As for the accompaniment itself, PBT put the spotlight on the orchestra, where music director Charles Barker delivered a speech at each performance that focused on PBT’s new drive to fund the orchestra for the next 50 years.
His ensemble responded with sensitive performances on Friday and Saturday, when Maestro Barker delivered an emotional hug from the stage for their efforts.
Likewise, there was a buzz on the stage, with three different casts inspired by it all in one of PBT’s best productions in recent memory.
Mention must be made of a commanding principal level performance in the Peasant Pas de Deux by corps members Jessica McCann, with her sparkling foot work, and Masahiro Haneji, executing masterful jumps and pirouettes.
However, the leading players in this bewitching ballet all had something to offer. Hannah Carter (Giselle) relied on her exquisite line at Saturday’s matinee, although she could not match the emotional ardor of Alejandro Diaz (Albrecht).
That night Alexandra Kochis partnered Mr. Sbrizzi with a wonderfully layered Giselle, full of a vital spark that attracted Albrecht, but maintaining that strength in the second act. He arguably saved his best performance for the last. Always the consummate technician, Mr. Sbrizzi became a poet as well, caring and sympathetic, and reminiscent of the Royal Ballet’s great dancer, Anthony Dowell.
Opening night Friday belonged to Amanda Cochrane and Yoshiaki Nakano in so many ways. Last seen in “Giselle” in 2016, they since had formed a powerful connection, something that has not been there before. And lifts that were merely adequate had became effortless, so well-timed as to be jaw-dropping in their perfection.
Mr. Nakano became the complete danseur in this production. His buoyant jumps had an aristocratic line, his acting a welcome authority, forming a connection and richness that had not been there before.
Ms. Cochrane had demonstrated a talent for this role before, but her interpretation was so fresh, so new, so ultimately stunning in her exotic portrayal, yet without leaving the historic nature of this fairy tale. She played with the tempos, lingering in her arabesques and balances, which is the key to “Giselle.” Yet, like a bolt of lightning, she launched into the Mad Scene like a force of nature. Bold. Beautiful. A launching pad into the dance of death that followed in the second act.
There she flew around a well-rehearsed corps of Wilis, imperiously led by Diana Yohe and Marisa Grywalski. But now there seemed to be a profound, almost seething atmosphere around these jilted brides. Perhaps they were given an extra incentive by the rise of the #MeToo movement as they drove Hilarion and Albrecht to their demise. As such, it was a prime example of how contemporary social mores can so impeccably infuse a timeless classic.
This article originally appeared In the Pittsburgh Post-Gazette on Sunday, Oct. 27, 2019.
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