VICTORIA—The stars aligned on Valentine’s Day weekend for the revival and Canadian debut of a 150-year-old ballet.
August Bournonville’s Konservatoriet: A Marriage By Advertisement, a two-act vaudeville ballet created around 1849, was staged by Canadian Pacific Ballet at Victoria’s Macpherson Playhouse on Feb. 13 and 14.
Aided by the expertise of Kennet Oberly, a renowned Bournonville expert, the Canadian Pacific Ballet is the only company in the world to have the the full-length work in its current repertoire. The ballet was last staged in Europe in 1995.
August Bournonville (1805-1879) served as choreographer to the Royal Danish Ballet for 47 years, during which time he created a signature style of ballet dancing known for being expressive, lilting, and difficult to execute.
This style, regularly practiced by only a fraction of ballet dancers today, is full of circular movements that describe three-dimensional space and sequences meant to highlight multiple angles at once. Imagine a double helix compared to a ladder and you’ll have some idea of the expressive beauty and difficulty Canadian Pacific Ballet must have felt in taking on Bournonville’s work.
The result was impressive, and the audience seemed to have a fantastic time from start to finish.
Konservatoriet is a romantic comedy set in Paris in the 1800’s. The choreographic jewel of the first act takes place in the ballet academy owned by the main character. To the delight of theatre-goers, choreographers, and dance historians alike, Bournoville used this “ballet scene within a ballet” to capture what he remembered from his own training in France around 1836.
August Bournonville’s Konservatoriet: A Marriage By Advertisement, a two-act vaudeville ballet created around 1849, was staged by Canadian Pacific Ballet at Victoria’s Macpherson Playhouse on Feb. 13 and 14.
Aided by the expertise of Kennet Oberly, a renowned Bournonville expert, the Canadian Pacific Ballet is the only company in the world to have the the full-length work in its current repertoire. The ballet was last staged in Europe in 1995.
August Bournonville (1805-1879) served as choreographer to the Royal Danish Ballet for 47 years, during which time he created a signature style of ballet dancing known for being expressive, lilting, and difficult to execute.
This style, regularly practiced by only a fraction of ballet dancers today, is full of circular movements that describe three-dimensional space and sequences meant to highlight multiple angles at once. Imagine a double helix compared to a ladder and you’ll have some idea of the expressive beauty and difficulty Canadian Pacific Ballet must have felt in taking on Bournonville’s work.
The result was impressive, and the audience seemed to have a fantastic time from start to finish.
Konservatoriet is a romantic comedy set in Paris in the 1800’s. The choreographic jewel of the first act takes place in the ballet academy owned by the main character. To the delight of theatre-goers, choreographers, and dance historians alike, Bournoville used this “ballet scene within a ballet” to capture what he remembered from his own training in France around 1836.
Here, pure and graceful technique is primly woven and displayed with groups, solos, trios and duets “practicing” their art. This section is dry of mime or human drama. It sits aloft, bracketed from the melodrama as a significant record in the cannon of ballet knowledge, becoming more precious as the years pass and more historical knowledge is lost.
The cast, directors, and costume department successfully rose to the challenge of Bournonville’s period piece. Ursula Szkolak, almost imposingly tall, displayed the ability to appear weightless and floating, indicating mastery and beyond. Ashley Evans indulged us with her character’s transformation from a garish and desperate busker into a true artist with sparkling polish. Her arabesques and pointework were richly satisfying.
Between the sequences of pure ballet for ballet’s sake, the characters were played as though loved by their respective actors. David Roland, Roberta Taylor, and Scott Vannan brought the confidence and natural commitment that breathes honest, rollicking life into a comedic role.
Graham McMonagle played Alexis, the cross-dressing prankster, with poise and understatement, not attempting to impose extra humour that would not have existed in the original staging. That, for me, meant it passed the test of authenticity. All in all, the revival displayed the directors’ trust in the value of reviving a traditional work in all its detail.
Under Oberly’s guidance, the entire cast executed Bournonville’s demanding technique well and seemed genuinely happy in doing so. I now look forward to “Victoria and Albert,” Canadian Pacific Ballet’s original ballet tribute to the devoted Queen and Prince, scheduled to play at the McPherson in May.
The Epoch Times is a sponsor of Canadian Pacific Ballet—“Canada’s Romantic and Classical Ballet Company.” Canadian Pacific Ballet is a non-profit arts organization based in Victoria, British Columbia.
The cast, directors, and costume department successfully rose to the challenge of Bournonville’s period piece. Ursula Szkolak, almost imposingly tall, displayed the ability to appear weightless and floating, indicating mastery and beyond. Ashley Evans indulged us with her character’s transformation from a garish and desperate busker into a true artist with sparkling polish. Her arabesques and pointework were richly satisfying.
Between the sequences of pure ballet for ballet’s sake, the characters were played as though loved by their respective actors. David Roland, Roberta Taylor, and Scott Vannan brought the confidence and natural commitment that breathes honest, rollicking life into a comedic role.
Graham McMonagle played Alexis, the cross-dressing prankster, with poise and understatement, not attempting to impose extra humour that would not have existed in the original staging. That, for me, meant it passed the test of authenticity. All in all, the revival displayed the directors’ trust in the value of reviving a traditional work in all its detail.
Under Oberly’s guidance, the entire cast executed Bournonville’s demanding technique well and seemed genuinely happy in doing so. I now look forward to “Victoria and Albert,” Canadian Pacific Ballet’s original ballet tribute to the devoted Queen and Prince, scheduled to play at the McPherson in May.
The Epoch Times is a sponsor of Canadian Pacific Ballet—“Canada’s Romantic and Classical Ballet Company.” Canadian Pacific Ballet is a non-profit arts organization based in Victoria, British Columbia.
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