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Modified Fri, Apr 02, 2010 12:07 PM
===== Touchstone ballet plays out perfectly =====

RALEIGH Carolina Ballet’s splendid program this weekend is a perfect introduction to ballet and yet has appeal for aficionados as well. It showcases the company’s depth of talent and range of styles.

Ballet historians mark Danish choreographer Auguste Bournonville’s 1836 “La Sylphide” as the beginning of ballet’s Romantic era. Instead of classical myths and courtly formality, these new works boasted human stories and virtuosic steps. “La Sylphide” affected many ballets to come, from “Giselle” to “Swan Lake” to “The Firebird.”

The two-act work is packed with humor and drama, incorporating just enough pure ballet to keep the interest of the youngest or newest attendees. It’s the wedding day of young Scotsman James, set to marry Effie but entranced by a mysterious wood sylph. She playfully eludes his grasp, eventually luring him into the forest. Gurn, James’ rival, follows them, hoping to prove James is being unfaithful.

Complications ensue when Madge, a beggar woman James had banished from the festivities, appears with a magic scarf she says will enable James to capture the sylph. Madge gets her revenge and Gurn a new bride after the sylph expires from being touched and James is spurned for inconstancy.

Company artistic director Robert Weiss has gone all out for this first Triangle staging of “La Sylphide,” from Peter Cazalet’s impressive scenery and costumes borrowed from the Boston Ballet to the dancers’ exuberant execution of proper style and technique. The company seemed particularly fresh at Thursday’s opening, making the evening a highlight of the season.

As the sylph, Margaret Severin-Hansen created her most enchanting characterization yet. Her dancing was so lithe and airy that attached wires seemed the only explanation. Her mischievous spirit and later frailty were beautifully limned.

Marcelo Martinez has risen impressively up the ranks in three short seasons, his James full of romantic stature and precise athleticism. Pablo Javier Perez made Gurn a winning personality, matched by Alicia Fabry’s charming Effie. Marin Boieru wisely played Madge’s witchery without undue exaggeration.

The evening began with “Nine by Twelve,” a premiere by guest choreographer Lynne Taylor-Corbett, set to short Bach works for a dozen dancers. Here, too, the performers brimmed with energy and poise, the emotions and patterns perfectly fitted to each piece’s mood. Standouts were Lola Cooper and Nikolai Smirnov’s joyous leaps, Melissa Podcasy and Timour Bourtasenkov’s elegant spins, and Erica Sabatini’s sassy flirtations with jaunty Alain Molina and Wei Ni.

Everyone should make time during the holidays to catch this highly satisfying program.

music_theater@lycos.com

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