On November 12 at Renée and Henry Segerstrom Concert Hall, surrounded by crowds of ballet lovers, Klieg lights crossed the evening sky announcing the much anticipated Reunited in Dance. This event managed to do what politically seemed an impossible task; to bring together Ukrainians, Russians, Americans, the world, in what is a vital combining of art and artistry.
The evening began with a montage of dancers speaking (a moving moment in a non-speaking art form). They told their stories of leaving loved ones, frightening escapes, homelessness, and courage. One could not stop the feelings, understanding the savagery of what war does to the gifts of history and beauty. These young performers did not know each other as labels of conflict but as artists working together to present this 400+ year old artform. It united the members of this brilliant family tree and reminded us of their shared gifts.
Xander Parish in “Ballet 101” – Photo by Karolina Kuras
Act I: The Opening introduced The Ballet Class which was a kind of prayer at the barre to ready the dancers for the evening. Xander Parish (Mariinsky/United Kingdom), Artistic Director of Reunite in Dance built the program beginning with a ballet class, reminiscent of Etudes (1948 Landers – Royal Danish Ballet) with the music of Ilyich Tchaikovsky’s Children’s Album played by the masterful pianist, Behzod Abduraimov (Uzbekistan and U.S.). And so the evening began…
Jacopo Tissi – Photo by Karolina Kuras
Throughout, there was a series of solo pieces and classic traditional pas de deux, trois and quatre, highlighting the personal dynamics and mastery of each dancer. It began with The Ninth Wave, an exquisite contemporary solo piece performed by Jacopo Tissi (Italy, formerly w/ Bolshoi), and choreographed by Brian Arias using the music of Mikhail Glinka and Nikolai Rinsky-Korsakov. Tissi’s contemporary-classic style that bridged by the beloved White Swan Adagio from Swan Lake. A backdrop of the moon-shimmering lake behind the elegant virtuosic strength of Christine Schevchenko (Ukraine, currently w/ ABT) shown her as the true ballerina she is. With such ease and effortless elan she collaborated with her devoted partner Xander Parish and it was clear Schevchenko was bequeathed Lev Ivanov’s genius in the tradition of the greats that had come before her.
Ilya Jivoy – Photo by Karolina Kuras
A BA//Ch Solo – choreographed and performed by Ilya Jivoy (Russia, formerly w/ Mariinsky) to the music of J.S. Bach. Jivoy’s piece allowed him to show not only his classic technique but his contemporary pluck, easily stepping away from the traditional. It was followed by the well-loved Don Quixote Pas de deux by Marius Petipa, to Minkus’ unforgettable score. The lovely saucy Lizi Avsajanishvili (Georgia, formerly w/ Mariinsky) flirted with the appreciative crowd; while the dynamic David Motta Soares (Brazil, Formerly w/ Bolshoi) excited the spirit with his soaring leaps and superb line to end the first half and beckon to the audience come back for more after their glass of wine.
Andrea Laššáková and Vsevolod Maievskyi in “Swan Lake” – Photo by by Karolina Kuras
To begin Act II, three dazzling young male dancers graced the stage in courtly white with gold trimmed jackets. A rendering of a grand ballroom set the scene behind the elegant Vsevolod Maevsky (Ukraine, formerly w/Mariinsky), flamboyant Boris Zhurilov (Russia, Formerly w/ Stanislavsky & Nemirovich-Danchenko Ballet) and princely Alexis Tutunique (Ukraine currently w/ National Opera of Ukraine & United Ukrainian Ballet). Their styles were distinct yet melded when working together, a challenge to be sure for these premiere danseuse who were exciting individually with their own personal magnetism and prowess on stage.
Mikhail Fokine’s classic Dying Swan, originally choreographed for Anna Pavlova was poignantly interpreted and performed by Veronika Selivanova (US, Formerly w/Mariinsky), her fragility and artistry was palpable and the piece took on new meaning appearing as a kind of metaphor for the struggle to survive in these times.
Andrea Laššáková and Adrian Blake Mitchell in “After the Rain” choreography by Christophe Wheeldon – Photo by Karolina Kuras
A gorgeous highlight of the evening, After the Rain, Choreographed originally for New York City Ballet by Christopher Wheeldon, was haunting with its pulsating legato musical lines by Arvo Pärt. This stunning choice revealed the work of the ethereal Andrea Laššákova (Slavak Republic, Formerly with Mikhailovsky) and powerful Adrian Blake Mitchell (U.S., formerly Mikhailovsky Ballet). The lyrical movements, the off-balance effortless lifts, the slow release to the ground made this journey an unearthly meditation that appeared to change the breathing in the room and encouraged a standing ovation at its end.
Following such artistry came Ballet 101, the base upon which ballet is built. It was an entertaining spoof on the complicated love-hate relationship to the vocabulary and actions of the art, with choreography and amusing voiceover by Eric Gauthier. This hilarious piece effortlessly demonstrated by the impish Xander Parish was a perfect segue from good humor to the traditional holiday Snow Pas de deux from The Nutcracker performed by the diminutive Laura Fernandez Gromova (Switzerland and Ukraine, Formerly with Stanislavsky and Namirovich-Danchenko Ballet), and outstanding Boris Zhurilov with his strong overhead lifts, cabrioles, triples tours.
Joy Womack in “Don Quixote” – Photo y Karolina Kuras
Flames of Paris Pas de Deux, with its fiery backdrop of Paris burning was based on the songs of the French Revolution, with choreography by Vasily Vainonen, and music by Boris Asafyev, premiered at the Kirov in 1932. The spirited and soaring performances of Joy Womack (US, Formerly w/ Astrakhan Opera and Ballet) and Vsevolod Maevsky (Ukraine, formerly w/Mariinsky) so mirrored recent history living in these performers today.
Andrea Laššáková and Jacopo Tissi in “Le Corsaire” – Photo by Karolina Kuras
Selections of Paquita with short variations from Humpbacked Horse, Sylphide, Dulchina, Pavlova, and a male solo performed by Jasmine Sophie Henry, Katia Raj, Lizi Avsajanisvili, Veronika Selivanova and David Motta Soares. Moving quickly to the final pas de deux, Le Corsaire, Music by Adolphe Adam. Christine Schevchenko and Jacopo Tissi bid farewell to the West Coast audience and the marvelous evening of dance as they performed their rousing finale. In response was a standing ovation with dancers and audience clapping with each other expressing a huge thank you for those who made this important evening of collaboration possible. It could not have been done without the care and talent of so many.
Katia Raj, Veronika Selivanova, Andrea Laššáková, Anastasia Demidova, and Jasmine Sophie Henry – Photo by Karolina Kuras
Once again, the cast of courageous and astonishing dancers included:
Xander Parish – Artistic Director/Choreography (Mariinsky/United Kingdom), Lizi Avsjanishili (Georgia, formerly Mariinsky), Svetlana Bednenko (Ukraine, formerly Mikhailovsky Ballet), Adrian Blake Mitchell (U.S., formerly Mikhailovsky Ballet), Anastasia Demidova (Russia, Formerly Mariinsky), Laura Fernandez Gromova (Switzerland and Ukraine, Formerly with Stanislavsky and Namirovich-Danchenko Ballet), Jasmine Sophie Henry (Australia, formerly Mariinsky Ballet), Ilya Jivoy (Russia, formerly with Mariinsky), Andrea Laššáková (Slavak Republic, Formerly with Mikhailovsky), Vsevolod Maevsky (Ukraine, formerly w/Mariinsky), Katia Raj (U.S., Formerly w/Leonid Yacobson Ballet), Veronika Selivanova (US, Formerly w/ Mariinsky), Christine Shevchenko (Ukraine, currently w/ ABT), David Motta Soares (Brazil, Formerly Bolshoi), Jacopo Tissi (Italy, formerly w/ Bolshoi), Alexis Tutunnique (Ukraine currently w/ National Opera of Ukraine & United Ukrainian Ballet), Joy Womack (US, Formerly w/ Astrakhan Opera and Ballet), Boris Zhurilov (Russia, Formerly w/ Stanislavsky & Nemirovich-Danchenko Ballet.
The Music Director for Reunited in Dance was Gaviel Heine (U.S. formerly w/ Mariinsky orchestra), and the Executive Producer was Chris Minev (Bulgaria & U.S., formerly with Mariinsky).
For more information about the Segerstrom Center for the Arts, please visit their website.
Written by Joanne DiVito for LA Dance Chronicle.
Featured image: Veronika Selivanova in Anna Pavlova’s The Dying Swan – Photo by Karolina Kuras
