 |
| Maria Chugai and Elizabetta Formento Author Jack Devant © 2024 Jack Devant. All rights reserved. Reproduced with the kind permission of the owner |
Cristiano Principato is a soloist with the Estonian National Ballet. He first came to my attention 10 years ago when he was a member of the Dutch National Ballet Junior Company (see Meet Cristiano Principato of the Dutch National Ballet Junior Company 3 Dec 2014). In his interview, he explained that he had loved choreography ever since he was a child. He said that his long-term dream was to direct a major company where he could create new ballets. My parting comment was: "Here is another young man who knows where he is going and I shall follow his career with interest."
I did not have to wait long for Principato's talent to emerge. In June 2016 I flew to Italy to see some of Europe's most promising young dancers at the civic theatre of Trecate (a small town in Piedmont about the same distance from Milan as Huddersfield is from Manchester) perform at a benefit gala for an excellent local charity (see From Italy with Love 1 July 2016). Not only did Principato raise money for the charity, he also danced before his father who had been prevented by illness from travelling to the opera houses in which Principato had performed. It must have been a very proud moment for both men.
In the same year the Dutch National Ballet invited Principato to create a work for that company and the result was Palladio. On the strength of that work, I nominated Principato as the outstanding young choreographer of 2016. The following year Principato was placed in charge of New Moves 2017 which stages works by the Dutch National Ballet's dancers. In my review, I wrote:
"As well as coordinating the whole event (see Principato moves to a Bigger Stage 30 May 2017), Cristiano Principato created, and danced in, my favourite work of the evening. He based his work on the music of Herny Purcell, our first great composer. This was a work for four dancers and his casting was impeccable."
I lost touch with Principato when he joined the Estonian National Ballet because Tallinn is much further from Manchester than Amsterdam.
We reconnected when Maria Chugai, one of my favourite artists with the Dutch National Ballet, told me that she was dancing in a new production of Cinderella by Principato and suggested that I might like to fly out to Tallinn to see the show. Although it was not easy for me to get away I jumped at the idea for several reasons. First, Kenneth Tindall had told me in his interview on Casanova that "the jump from one-act to full-length is an exponential and qualitative leap - not merely doubling or tripling of effort." Not every choreographer can carry it off and I wanted to see what Principato would make of the challenge. Secondly, I have been a big fan of Chugai ever since I saw her dance Myrtha in Giselle at the Theater Heerlen on 9 Nov 2018 (see Mooie 10 Nov 2018). I also owe her a special debt of gratitude for the online classes that she gave to Powerhouse Ballet during lockdown. Finally, visiting Estonia was an adventure. It is a fascinating country with Russian, Finnish, Swedish and German influences, thriving tech and creative sectors and a concession called e-residency which confers some of the benefits of Estonian residence on non-resident foreigners. The country also borders Russia and judging by the way international tensions are developing Tallinn may be the nearest I ever get to Theatre Street in my lifetime.
Although Cinderella was an independent production it took place in the Estonian National Opera House (Rahvusooper Estonia). That building consists of two auditoriums side by side. One is used for opera and ballet and the other for concerts. For those who want to learn more about the opera house, the photographer Jack Devant has written an interesting article about the venue. The dominant feature of the auditorium in which the ballet took place is a gigantic painting on the ceiling encircling a chandelier. It is not a big theatre compared to Covent Garden or the Music Theatre in Amsterdam but it gives an impression of opulence. The audience is seated on semi-upholstered wooden framed chairs allowing a reasonable amount of legroom. There appeared to be space for an orchestra though the pit was boarded over for the performance. A heavy royal blue curtain hung across the stage. The ushers were smartly turned out in black suits with golden trimmings around their neck and hemlines.
In an interview with Konstantin Litvichenko, Principato was asked to identify the three most successful factors of the performance. He replied first the visual design, secondly, staging Cinderella in the style of Marius Petipa and thirdly the experience that he gained from staging the work. I would agree with him about the design though I would not put it number one. An obvious reason for the success of the show was that Principato's libretto stuck close to Charles Perrault's story and avoided gimmicks like gender alternation as in Scottish Ballet's Cinders or substitution of a male magician for the Fairy Godmother in David Nixon's. But the main reason for the success of the show was the casting. Principato chose dancers who were also accomplished actors. They told the tale which was just as well as the programme notes were entirely in Estonian.
The casting of Elisabetta Formento from the Spanish National Dance Company in the title role was inspired. I had previously seen her with the Dutch National Ballet and the Birmingham Royal Ballet and it was a delight to see her again. Formento is an excellent communicator of emotion. Her despair and sense of burning injustice as her stepmother destroyed her dress and confiscated her invitation were palpable. Later she shared her exhilaration with three soaring grands jetés as she approached her prince.
Perhaps because I am used to Sarah Kundi's portrayal of Hortensia (Cinderella's stepmother) in Christopher Wheeldon's version for the English National Ballet I had expected a comic performance from Francesca Loi. I was not disappointed. There were some hilarious moments such as her panic over a mouse and her mounting frustration over her failure to distract the prince after she had recognized Cinderella.
Loi was complemented by her two selfish and spiteful daughters Anastasia and Genevieve. These are difficult roles as they have to combine ridicule with nastiness which is the opposite of a dancer's training. They were danced by Karina Laura Leškin and Phillipa McCann.
Much as the Lilac Fairy holds together The Sleeping Beauty and Drosselmeyer The Nutcracker the Fairy Godmother links the three crucial scenes of Cinderella. She makes an appearance early in the first act noting Cinderella's misery. She comes again with fairy helpers to create Cinderella's gown and carriage. She returns to the stage just before midnight warning Cinderella to make her exit. That role was performed by Maria Chugai with flair and virtuosity.
Formento was partnered gallantly by her prince Thomas Giugovaz. Having graduated from La Scala ballet school less than 10 years ago his progress to soloist of the Spanish National Dance Company has been rapid. He has danced in several American and continental companies and also in Hong Kong but not yet in the UK.
Another dancer who has progressed rapidly is Diogo de Oliviera, a soloist with the Polish National Ballet. He danced the role of the prince's advisor displaying humour when dealing with Cinderella's stepmother and sisters, carrying her discarded slipper and looking for a fit and considerable virtuosity at the ball.
Other artists I should mention are Akane Ichii, Kim Jana Hügi, Maarja Praks and Ashley Chiu who danced the seasons. Connor Willians and Hidetora Tabe were cavaliers. Sacha Barber and Benjamin Pierce were guests at the ball. All are members of the Estonian National Ballet whom I might not have seen had I not come to Tallinn. All danced well and all deserve commendation.
I have already agreed that the designs contributed to the success of the show. Credit for the lighting should go to Richard Boukine. The visuals which consisted of CAD projections transported the audience through all the scenes of the ballet from Conderella's skullery to the ballroom of the royal palace. They were most impressive particularly the fireworks in the last scene. Aarto Hiiema and Principato share the credit for those projections. Principato and Svetlana Leht collaborated on the costumes. An original feature of the Fairy Godmother's headgear was the miniature golden stove pipe hat. Last but by no means least of those who are to be congratulated is Sander Sellin of Grand Art MTÜ - Estonian Ballet Agency for he produced the show.
Cinderella will be performed in Vilnius on 28 Oct and Tartu on 4 Nov 2024. The show returns to Tallinn on 25 Nov 2024. It was a resounding success and for those who live within easy reach of any of those cities, it is strongly recommended. Readers do not have to take my word for it as Principato has posted substantial portions of Act I and Act II to YouTube.
No comments:
Post a Comment