Haglund and the ballet police sirened our ways to the Chinese Consulate on W. 42nd St. on the way home from the Shanghai Ballet’s Swan Lake Friday night to lodge a formal protest about the Chinese photographers with their bazooka cameras entrenched in the 3rd and 4th rings at the Koch Theater. But we didn’t stop there. We then marched into Kam-Wei’s Kitchen nearby on 10th Avenue to pursue justice. They’d already heard all about it — news travels fast down the 10th Avenue ballet pipeline between Lincoln Center and Hell’s Kitchen –– and they were ready for us: “We’re all out of duck. Only one sauce packet per order for complainers.” We were incredulous. “But, but, but – the photographers literally spoiled the ENTIRE White Swan PdD and a major part of the Black Swan PdD,” we cried out. "We have never seen anything like that at Lincoln Center before.” Kam-Wei’s kitchen thugs opened our food bags and stripped out the fortune cookies, “Complainers, look for your good fortune elsewhere. Out!”
Honestly, the Koch Theater should have been better prepared. The new bunch of house managers were of no help at all. Not a one of them had the balls to go upstairs and order the photographers to stop disrupting the performance.
The production by Derek Deane (Former Royal Ballet principal and English National Ballet director) was highly attractive and well-danced, especially by our Odette/Odile, Qi Bingxue, a world-class artist with impeccable feet and port de bras that rippled softly like a quiet brook. She achieved some stunning picture-worthy poses which sent the photographers in the 3rd ring into multiple episodes of orgasmic clicking: an attitude that curved gently toward the sky, a backbend so deep that her upside down face looked down into the audience seated in the orchestra level, arabesques perched like a bird on a limb.
So often we observe the differences between Odette and Odile through their facial expressions and the limpid vs. authoritative port de bras. Yes, all of that was evident in Qi Bingxue’s characterizations, but what also stood out was the perception of strength and power that pulsed through the knees and quads of her Odile. She slowly flexed her legs through a dangerous developpe while distracting Siegfried with the sensuality and beauty of her upper body. This Odile didn't avoid risks either. As her fouettes travelled forward, we thought we were going to see the first Odile to finish them on the apron of the stage if not in the lap of the bassoon player. Nevertheless, she persisted. It was a very gutsy job, and the audience recognized her for it.
Our Siegfried, veteran Wu Husheng, possessed a beautiful classical line and buttery soft feet. He was an attentive and emotion-driven partner who fully shared Odette’s stress. His double tours were especially clean with endings held in fifth position like double exclamation points. But his elevation and pirouettes were less than impressive. Generally speaking, we found the men in the company noticeably less skillful than the ballerinas who would have held their own with most any company that has danced here. Especially noticeable was the expressive bend and sweep of the upper bodies of the swans. Very English and very pretty, indeed.
We thoroughly enjoyed many of Derek Deane’s artistic choices – from the Von Rothbard character who was part monster, part bird complete with a pecking tic to the vibrant Neapolitan duet danced by a peasant boy and girl. The Neapolitan wasn’t the Ashton version, but it certainly was in the same vein with terrifically complex allegro that had so many changes in direction at high speed that the dancers nearly didn’t have time to put their feet on the floor.
The Corps de Ballet that included 48 swans looked sensational on the stage and spoiled us for all future swan corps. Forget mirrors – 48 swans make a flocking statement. They moved as one, breathed as one, and used the space as though it was their home stage. A couple of times, there was evidence of over-drilling when they all descended to their B+ positions with a clomp. It was so nice to see the pointe shoes’ shine buffed off with makeup that we won’t even complain about the Gaynor Minden-like shape of them. These were serious artists who were dedicated to the classical art form and committed to proper placement of every finger. The swan corps is no place for egos wanting to celebrate their individuality. This Shanghai Ballet corps certainly understood the importance of its role in Swan Lake and seemed happy that their efforts were warmly appreciated by the audience.
The H.H. Pump Bump Award, a corps of gold winged stilettos, is bestowed upon the Shanghai Ballet Corps de Ballet.
10 responses to “Shanghai Ballet Swan Lake 1/17”
I purchased a ticket at the last minute for this production and I’m glad I did.
The almost 50 Swan strong corps was truly beautiful. All the corps were in sync, gracefully composed and unwavering.
I saw Kochetkova in the lead. She wasn’t the greatest but she gets the job done. And in this day, that seems to be the norm rather than the not. Still, I would have rather seen an up and comer from Shanghai’s ranks than a guest star.
I purchased a ticket at the last minute for this production and I’m glad I did.
The almost 50 Swan strong corps was truly beautiful. All the corps were in sync, gracefully composed and unwavering.
I saw Kochetkova in the lead. She wasn’t the greatest but she gets the job done. And in this day, that seems to be the norm rather than the not. Still, I would have rather seen an up and comer from Shanghai’s ranks than a guest star.
Finances stopped me from attending this performance, Haglund, and after reading your report, I am (almost) glad that I didn’t go. The endless taking of photos and video recording performances is beyond distracting and selfish, to both the audience and the performers. Even yesterday, at the Bolshoi transmission of “Giselle,” some idiot in the front row of the movie theater thought that it was all right to whip out her phone and start videotaping the entire ballet. It took more than three minutes of various audience members entreaties, screams and calls for security to throw her out, before she finally put her camera away.
Finances stopped me from attending this performance, Haglund, and after reading your report, I am (almost) glad that I didn’t go. The endless taking of photos and video recording performances is beyond distracting and selfish, to both the audience and the performers. Even yesterday, at the Bolshoi transmission of “Giselle,” some idiot in the front row of the movie theater thought that it was all right to whip out her phone and start videotaping the entire ballet. It took more than three minutes of various audience members entreaties, screams and calls for security to throw her out, before she finally put her camera away.
Unbelievable! Someone should have poured a Pepsi over her head!
Unbelievable! Someone should have poured a Pepsi over her head!
This is right from the horse’s mouth, Haglund —- i.e. from someone who works as an usher at NY State Theater. For whatever reason, they were personally told by House Management to NOT try and stop the audience from taking pictures, or from filming, during these performances. Whether this will also hold for all performances at the Theater, I do not know. I guess the enjoyment of rest of the audience doesn’t matter. This is kind of awful news.
This is right from the horse’s mouth, Haglund —- i.e. from someone who works as an usher at NY State Theater. For whatever reason, they were personally told by House Management to NOT try and stop the audience from taking pictures, or from filming, during these performances. Whether this will also hold for all performances at the Theater, I do not know. I guess the enjoyment of rest of the audience doesn’t matter. This is kind of awful news.
Just my guess: Given that the house made the customary announcement in both Chinese and English due to the large number of Chinese in the audience, and given that probably not many of the ushers speak Chinese, it’s possible that the house management thought there might be an international incident if the ushers tried to stop the Chinese patrons from doing what they thought was okay to do. The ushers are still swooping in on cameras at NYCB, though.
Just my guess: Given that the house made the customary announcement in both Chinese and English due to the large number of Chinese in the audience, and given that probably not many of the ushers speak Chinese, it’s possible that the house management thought there might be an international incident if the ushers tried to stop the Chinese patrons from doing what they thought was okay to do. The ushers are still swooping in on cameras at NYCB, though.