A ballet company that wants to stay relevant in the 21st century must offer adventuresome takes on familiar tales, experiment with daring new forms such as hip-hop and tip its hat to American modern masterpieces.
But the unmatched heritage of classical ballet should always be a part of the offerings of a major metropolitan troupe, so it is gratifying to see that the Colorado Ballet has continued that tradition as it begins its 45th season.
The company is making its debut in the new Ellie Caulkins Opera House with 21 performances of a stunning production of the most celebrated of all the great classical ballets – “The Sleeping Beauty.”
Although this offering might not match the huge scale that a handful of international companies, such as the Kirov Ballet, can muster, it successfully conveys the beauty and grandeur of this historic art form.
Despite the financial turmoil the Colorado Ballet has undergone in recent months, it did not, to its credit, cut any corners on this production.
The David Walker-designed sets and costumes, commissioned by London’s Royal Ballet and now owned by the Boston Ballet, are nothing short of spectacular, appropriately offering the pomp of Louis XIV with some Russian touches.
Also contributing to the production’s richness is live musical accompaniment, not always a given with Colorado Ballet. The organic, in-the-moment interplay of orchestra and dance gives this production a dynamism that would not be possible with a recorded score.
But, of course, the most important ingredient is the dancers. The company has brought together about 75 performers, including students and apprentices – an impressive number by any standard.
Such largesse allows for suitably large-scale ensemble numbers, such as the garland waltz and a fetching scene with the woodland nymphs in their strikingly iridescent tutus.
For the choreography, Ballet Master Meelis Pakri assembled a composite of some of the best productions from the past, all rooted in Marius Petipa’s original 1890 adaptation.
This approach mostly works, with the 2 1/2-hour production delivering the essence of the ballet. A glitch emerges in the second act: The prince’s encounter with Carabosse and the subsequent awakening of the princess seem choppy and rushed.
In realizing this choreography, the Colorado Ballet looks very good because of the stability and strength of its dancers. It has such a depth of talent that it has been able to assemble three casts (two of which were reviewed) with strong principals in each.
There was no question who would be featured in the first cast in the main roles of Princess Aurora (the Sleeping Beauty) and Prince Desiré – principal dancers Maria Mosina and Igor Vassin, two of the company’s most respected veterans.
As expected, they look so comfortable together, delivering striking, assured performances, with every element in place. Mosina impressed with her nimbleness and flawless execution, and Vassin was a model of fluidity and grace, landing his deft leaps with virtually no sound.
But this production’s big story is the emergence of Maya Makhateli, who is tackling her largest and most visible role to date as Aurora. She is destined to be one of the company’s next stars, if she isn’t already. Makhateli impressed with her athleticism, beautiful extensions and youthful spiritedness.
Paired with her is principal dancer Chauncey Parsons, who does not possess the same elegance as Vassin. But what he lacks in classical refinement, he makes up in the sheer exuberance and brio of his dancing.
Another standout is soloist Janelle Cooke, with her high energy and stage presence. She was effective as the Lilac Fairy but also lit up such smaller roles as the Violente and Diamond fairies.
Also deserving note are Sayaka Karasugi as Princess Florine, with her strong technical control; John Henry Reid, who offered a delightfully comic turn as the flirty Puss-in-Boots, and Patricia Renzetti as the deliciously villainous Carabosse.
Beyond providing the Colorado Ballet with a suitable place to perform, the Caulkins Opera House also has the bonus of the Figaro seat-back titling system. The company used it to spell out the story as the ballet unfolded and announce characters’ appearances – an enormously helpful and appealing innovation. Unfortunately, it was not working during Saturday’s matinee.
Staff writer Kyle MacMillan can be reached at 303-820-1675 or kmacmillan@denverpost.com.
“The Sleeping Beauty”
Colorado Ballet | Ellie Caulkins Opera House, Denver Performing Arts Complex, 14th and Curtis streets; 7:30 tonight, 2 and 7:30 p.m. Saturday and 2 p.m. Sunday; 21 performances in all, running through Oct. 16 | $18-$86 |303-837-8888, ext. 2, or coloradoballet.org.
