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San Francisco BalletSeptember 2004 London, Sadler's Wells by Mandy Kent |
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As posted on our Postings pages... San Francisco Ballet - My Highlights of Programme 1 & 2 I have been bowled over by San Francisco Ballet. I think they are one of the strongest companies I have ever seen. Their technical assurance is matched by their artistry and grace. The highlights for me from the first two nights were Wheeldon’s Continuum danced to music by Ligeti in the first programme and Concerto Grosso choreographed by Helgi Tomasson in the second. Wheeldon does sometimes reiterate past themes, but doesn’t every choreographer have a distinctive style and recognizable ‘gems’ that can be reused to great effect? Certainly there are plenty of these in Balanchine’s works. So, some of the fluid body bends did conjure up Tryst, but the overall flavour of Continuum was a slightly oriental feel conjuring images of Balinese temple dancers and buddhas. The men’s scything, windmilling arms were fascinating, so fast that they were blurred on the retina.
The supreme delicacy of Yuan Yuan Tan’s dancing in this piece, and others, is going to be my lasting memory of the evening. She is blessed with long legs, pliant arms and the most exquisite expression.
 © John Ross In this piece there is a moment when she and her partner Damian Smith sit on the floor and each places their hand on the stage and gently skitters their fingers along the floor, like a little spider. Just one small moment but it grabbed my attention. I find Wheeldon so original and unpredictable. Onto Helgi Tomasson’s ‘Concerto Grosso’ which is danced to music by Geminiani after Corelli. This flamboyant piece is a showcase for the supremely athletic men of the company. Led by Pascal Molat, the five men (wearing figure hugging lycra of various hues) each take turns in dancing bravura steps with wonderful leaps and precise pirouettes. Molat reminded me a little of Baryshnikov in his verve and charismatic hold on the audience. It was a real crowd pleaser and it is unusual to have a piece choreographed solely on men to display their virtuosity. Thank you Mr Tomasson!
I enjoyed both programmes immensely but will leave discussion of the other pieces, especially the Balanchine works (beautifully danced) to those with more knowledge of Mr B. One final word of praise for principal dancer Muriel Maffre who seems to have extra joints in her arms and the most fluid movements I have ever seen. She is a very tall dancer and on pointe she towers over her partner, but her lithe movements and the intelligence of her dancing stood out far more than her height.
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