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Swans, Gupta and ballet on makeshift stage: The Southern California dance superbloom

BBG News

Los Angeles doesn’t hold the title as a primary dance hub, but it isn’t a barren dance landscape either. Historically, we haven’t been known for fostering large-scale ballet troupes. However, what we lack in major companies, we make up for with an abundance of smaller ones – ranging from modern to classical and international styles.

You may have to look for it, but somewhere someone is always dancing hereabouts for you.

Last weekend, I attended three diverse dance shows at unique locations across three distinct cities, catering to three various audience types. The variety was vast, yet the commonalities, enlightening.

As a movie reviewer, I recently had the privilege of attending Miami City Ballet’s grand performance of “Swan Lake” at Segerstrom Hall in Costa Mesa. Kicking off a series of diverse interpretations of Tchaikovsky’s cherished ballet this summer, it was an extraordinary experience that left me eagerly anticipating more. This weekend, Boston Ballet takes the stage at the Music Center, and San Francisco Ballet is set to join the dance with excerpts at the Hollywood Bowl as part of this year’s Los Angeles Philharmonic “Tchaikovsky Spectacular.

On a soundstage in the Fairfax district, Television City, the distinctive Los Angeles dance company American Contemporary Ballet, known for performing in unconventional locations around town, is staging George Balanchine’s contemporary masterpiece “Serenade” and a new piece by the company’s founder and choreographer Lincoln Jones. On the other hand, on Saturday evening, violinist Vijay Gupta and dancer Yamini Kalluri blended Bach’s music with the Indian Kuchipudi dance tradition at the 99-seat Sierra Madre Playhouse.

Review

Why this year’s Ojai Music Festival was one of the best

2021’s Ojai Festival, under the leadership of renowned flautist Claire Chase, showcased Anaheim native Susie Ibarra with great distinction – a musician who recently received the Pulitzer Prize in Music.

The Miami City Ballet has garnered attention due to a revival of “Swan Lake” that is based on historical accuracy, as choreographed by Alexei Ratmansky, a renowned dancer trained at the Bolshoi. He’s made an effort to recreate the 1895 version staged at the Mariinsky Theater in his hometown of St. Petersburg.

Historically informed performance (HIP) and “Swan Lake” are rich terms, as they carry much history with them. HIP emerged from the early music movement’s attempt to recreate how a Handel opera might have sounded during the 18th century using period instruments and supposedly period playing techniques. However, this approach was found to be rather dull. Over time, the movement understood that employing old instruments creatively, with lively and innovative techniques, gave the music a fresh, invigorating feel. This effect was even more pronounced when the production was strikingly modern.

In Ratmansky’s revival of “Swan Lake,” the blend of contemporary instruments with classical ballet creates an effect that largely contrasts with tradition, and it began rather confusingly on Sunday evening. The Pacific Symphony beautifully performed Tchaikovsky’s overture in a dimly lit auditorium designed to immerse us into another realm. However, the use of modern orchestra and the bright glows from audience phones served as constant reminders that we are indeed in 2025.

19th-century orchestras played with lighter, livelier instruments that mirrored the dance styles of the era. However, when the curtain lifted to reveal old-fashioned sets, costumes, dances, and acting on Sunday, it felt, given the situation, like stepping into a kitschy antique store.

To put it simply, Ratmansky brings fresh perspectives to the table. Looking back to the original 1895 version of “Swan Lake” can actually mean a return to its roots. There isn’t a single definitive version of this classic ballet. Tchaikovsky revised it after the initial 1877 version, but he didn’t live to complete the changes that led to the more commonly known version from 1895. Since then, countless choreographers, dancers, producers, and even composers have added their own interpretations. The story can conclude in either victory or sorrow. Swan-maiden Odette and Prince Siegfried may meet a tragic end, or they might survive, each on their own or together. Over time, “Swan Lake” has become so well-known that additional elements only add more complexity to its timeless beauty.

From this perspective, Ratmansky’s fusion of tradition and contemporary elements serves as a compelling foundation for re-imagining not only a classic ballet but also the essence of ballet and the roots of its unique charm. The two Swan Acts exude a straightforward gracefulness.

Cameron Catazaro, with his striking charm and athletic prowess, portrayed a captivating Siegfried, while Samantha Hope Galler beautifully embodied both the sweet innocence of Odette and the vivaciousness of Odile. In motion, they seemed like enchanting figures brought to life, and their performances spoke volumes. Siegfried’s daring jump captured impetuousness, and the Black Swan’s mesmerizing 32 fouettés were a testament to her meticulous study and skill. Everything else served as mere background.

Review

Esa-Pekka Salonen leaves the troubled San Francisco Symphony with Mahler’s call for ‘Resurrection’

In a dramatic conclusion to his tumultuous tenure, Salonen chooses Mahler’s powerful Second Symphony as his final performance with the San Francisco Symphony, eliciting thunderous applause from the audience and enthusiastic foot-stamping approval from the musicians.

Forty years later, in 1935, Balanchine made his next move with “Serenade.” This was his creation, which featured Tchaikovsky’s “Serenade for Strings,” composed shortly after the piece that became “Swan Lake.” In this ballet, his first since settling in the U.S. in 1933, the Russian-Georgian choreographer aimed to innovate a fresh type of ballet suitable for the new era – one without a storyline, but showcasing stunning aesthetics instead.

Despite ACB not explicitly stating it, George Balanchine relocated to Los Angeles in 1938, three years following the American debut of “Serenade.” His new residence was only a few blocks away from Television City on Fairfax Avenue. During his brief stay in Hollywood, he played a pivotal role in creating dance for movies that captivated audiences globally.

On the dimly lit stage, ACB’s performance seemed to conjure up images of movies, with dancers bathed in a black-and-white film-like light. However, the unique arrangement – audience seated on bleachers just feet away from the small stage, musicians concealed behind seats, and dancers performing so closely – added an intense intimacy that underscored the painstaking precision required to recreate Balanchine’s dance steps authentically. The result was a sense of being immersed in the present while simultaneously glimpsing into the future.

Before the performance of ‘Serenade’, there was a debut for Alma Deutscher’s short ballet titled ‘The Euterpides’. This young prodigy, who is both a 20-year-old British composer, pianist, violinist and conductor, had already composed her first opera, ‘Cinderella’, at the age of ten. Opera San José and other venues have produced this work. ‘The Euterpides’ marks Deutscher’s first foray into ballet, and it presents a unique take on time travel.

Each waltz variation within this Viennese melody for strings and piano symbolizes a distinct Greek muse. The composition appears as if it could have originated during Tchaikovsky’s era; however, Deutscher incorporates modern methods to portray each muse’s unique personality. “Pneume,” the goddess of breath, is given an extra beat occasionally, subtly altering the rhythm.

In this rephrasing, I’ve attempted to keep the original meaning while making it more accessible and conversational:

Jones draws upon a dance lexicon, originating from Balanchine, for his five female dancers, each serving as an inspiration, alongside the male Mortal character for their closing pas de deux. However, the historical context ultimately dominates the modern setting in this grand production.

In his exceptional work “When the Violin,” Gupta skillfully blends the past and present. On a superficial level, he initiates an engaging cultural dialogue by playing Bach’s Solo Violin Partita No. 2 and Sonata No. 3 alongside Kalluri, who seeks to convey emotion or discover rhythm in chosen movements. Dressed in contemporary attire, she aligns herself so closely with the music that the gap between cultures seems as easy to bridge as that between different time periods.

In Los Angeles, Gupta began his career with the Philadelphia orchestra in 2007 at the age of 19. Since then, he has established Street Symphony, an organization that provides music to homeless and imprisoned communities. Additionally, he has given captivating TED talks and received a MacArthur fellowship. After leaving the Phil, Gupta continues to perform locally in chamber programs and plays Baroque violin for the L.A.-based ensemble Tesserae.

In “When the Violin,” Gupta skillfully uses a contemporary violin with an emotive style that stretches notes and manipulates time, creating a seamless transition from a sarabande to a raga-like flow. He occasionally recites poetry, whether it’s Sufi or Rilke, adding depth to the performance. His powerful and captivating tone is particularly noteworthy in this intimate theater setting. The Bach compositions are linked by Reena Esmail’s moving solo for “When the Violin,” which beautifully blends the realms of Bach, Indian music, and Kuchipudi dance, creating a sense of unity and belonging that transcends time and space.

In just a single performance by a virtuoso violinist and an accomplished dancer, it became clear that even in vastly different realms, there exists an unavoidable bond or connection.

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2025-06-25 22:01

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