Word: balanchineã
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Though retaining traditional elements, Boston Ballet’s production follows George Balanchine??s neoclassical choreography of “Coppélia.” The ballet was originally cast in 1974 for Patricia McBride (Swanilda) and Helgi Tomasson (Frantz), two of Balanchine??s greatest stars in the New York City Ballet. This spring, Judith Fugate staged “Coppélia” for two of Boston’s own stars: Misa Kuranaga and Nelson Madrigal...
...vivacious Swanilda with spunk. Madrigal portrayed a naïve and good-natured Frantz, complementing Kuranaga both in character and skill. The first act was light and playful—the dancers of the corps de ballet (the chorus of the Boston Ballet company) swished their period costumes in Balanchine??s authentic character dances. Character dances are stylized portrayals of folk or national dances...
...third act of “Coppélia” is entirely Balanchine??s own work, as the focus shifts from the storyline to the dancing itself. In the Festival of the Bells, the townspeople celebrated their new village bell tower in front of a breathtaking set; the wings were adorned with bouquets while garlands and bells hung from above. In a series of dances to commemorate moments when the town bells would be rung—dawn, prayer, work, war, and peace—Boston Ballet’s principals and soloists performed with grace. Soloist...
...conclusion that “the main critique is that you’re too pretty,” draws a laughing assent from the dancers. After all, this dance does deviate from classically beautiful performances like Petipa’s “Giselle” and Balanchine??s “Diamonds”; like all six pieces programmed for “Momentum”—which will run from Nov. 6 to 14—it is an experiment in fusing the traditional with the contemporary, the familiar with the unknown...
...more about her career as a ballerina. The Harvard Crimson (THC): Tell me about your transition from Japan to New York, before Boston.Misa Kuranaga (MK): It was a little bit of a shock. It was definitely different. My training in Japan was very classical. Of course I knew [Balanchine??s, a famous choreographer’s] work, like Tchaikovsky Pas de Deux, Theme and Variations, the big stuff, but I had no idea how it should look, since I had never seen NYCB. I went first to San Francisco as an apprentice, and I got to learn...