Ballet Philippines’ celebrates 45th Sapphire Year Anniversary with the Blue Moon Series

For two weeks, Ballet Philippines, the country’s premier dance company celebrates its 45^th Sapphire Year Anniversary with the Blue Moon Series. The celebrations start with the repeat restaging of Giselle on September 19-21, 2014 that will feature on its gala, fundraising night guest artists Stella Abrera and James Whiteside from the American Ballet Theatre. A week later on September 26-27, 2014, the Blue Moon Gala takes place featuring BP’s masterworks and more and also the return of former BP principal dancer Candice Adea, now of the Hong Kong Ballet. Lastly on September 28, 2014, the Blue Moon Homecoming Gala showcases performances by dance schools here and abroad that were founded by BP alumni and former students. All of these shows will be staged at the Cultural Center of the Philippines’ Tanghalang Nicanor Abelardo (CCP Main Theater).

American Ballet Theatre’s Stella Abrera and James Whiteside to dance in Giselle fundraising gala

BREAKING NEWS:
Dear friends who have bought tickets for tonight's Giselle. We are pushing through as scheduled. James Whiteside leaves for New York tomorrow morning due to an earlier commitment. It will be a pity not to watch them. However, some PPO members are stranded so we can't have the orchestra tonight. They are playing instead tomorrow. Pls pass EDSA to CCP. no floods there. Pagasa says rains leaving Manila at 8pm. Leave early. Come in any attire. Wear your boots if you have to wave the floods. We worked so hard to put this together. See you! - BP President Margie Moran Floirendo

September 19, 2014, 3:00 & 8:00 PM 3:00 PM show cancelled

September 20, 2014, 2:00 & 6:00 PM

September 21, 2014, 2:00 PM

Tanghalang Nicanor Abelardo (CCP Main Theater)

CCP Complex

Pasay, Metro Manila

American Ballet Theatre’s Stella Abrera dances the title role in Giselle that kicks off Ballet Philippines’ Blue Moon Series. Abrera, along with her fellow ABT dancer, James Whiteside, will take to the stage as Giselle and Albrecht respectively for the one night only, fundraising gala happening on September 19, 2014, 8:00 PM at the Cultural Center of the Philippines’ Tanghalang Nicanor Abelardo (CCP Main Theater). The Philippine Philharmonic Orchestra, conducted by Olivier Ochanine, will provide live music on this special night.

Stella Abrera

This romantic ballet restaged by Nonoy Froilan, after a successful run last season, returns once again this season for just one weekend. Aside from the guest artists from ABT, the show will also feature Ballet Philippines’ principal dancers Katherine Trofeo and Jean Marc Cordero, as well as newly promoted soloist Denise Parungao and junior principal dancer Earl John Arisola, reprising their roles during the other performances. This production also features stage/film/television actress Mailes Kanapi as Berthe, Giselle’s mother, with Nonoy Froilan and Butch Esperanza alternating as the Duke of Courland, as well as Carissa Adea, Richardson Yadao, Rita Angela Winder, Ma. Celina Dofitas, along with BP’s company members, apprentices, and scholars.

Giselle's Peasant Pas de deux with Monica Gana and Timothy Cabrera

During BP’s 44^th IllumiNATION Season, I had the opportunity to watch the opening night of Giselle with Carissa Adea and Richardson Yadao and I sang the praises for this top notch production. I welcome the opportunity to see this ballet (and go through the heartbreak of Giselle) and hear Adolphe Adam’s music once again.

Ballet Philippines’ favorites and more at the Blue Moon Gala

Aku with Jemima Reyes and Victor Maguad

September 26, 2014, 8:00 PM

September 27, 2014, 2:00 & 6:00 PM

Tanghalang Nicanor Abelardo (CCP Main Theater)

CCP Complex

Pasay, Metro Manila

A week after wiping away tears from Giselle, it will be time to celebrate the favorite masterpieces (and more) that the Ballet Philippines has whipped up for the past 45 years at the Blue Moon Gala this September 26 & 27, 2014 at the Cultural Center of the Philippines’ Tanghalang Nicanor Abelardo (CCP Main Theater).

The dances included in the Blue Moon Gala are Je Tu Elle choreographed by Redha Benteifour, Farandole choreographed by George Birkadze, Salome choreographed by Agnes Locsin, Cold Song choreographed by Max Luna III, Bungkos Suite choreographed by Alice Reyes, Nocturne choreographed by Carlo Pacis, R/J choreographed by George Birkadze, For the Gods choreographed by Denisa Reyes and Songs of the Wayfarer choreographed by Norman Walker.

The Blue Moon Gala will also feature the return of former Ballet Philippines principal dancer Candice Adea. She and Shen Jie, her co-soloist at the Hong Kong Ballet, will perform the Don Quixote Grand Pas de Deux which is considered as one of the most challenging duets in the classical repertoire.

The matinee show of the Blue Moon Gala will feature works included in the BP show Master Pieces that will tour the United States of America and Canada this October. The works to be performed are Aku choreographed by Alden Lugnasin, Halik choreographed by Paul Alexander Morales, After Whom choreographed by Augustus “Bam” Damian III, Moriones choreographed by Agnes Locsin, and Tambol at Padyak choreographed by Tony Fabella.

Alumni and students gather for Ballet Philippines’ Homecoming Gala

September 28, 2014, 2:00 & 6:00 PM

Tanghalang Nicanor Abelardo (CCP Main Theater)

CCP Complex

Pasay, Metro Manila

Highlighting the impact and legacy that Ballet Philippines’ has had for 45 years is the Homecoming Gala, a special event that will gather around 20 distinguished alumni along with over 200 students. This one time show, happening on September 28, 2014, 8:00 PM will feature dance schools based here and abroad that were founded by alumni and former students of Ballet Philippines.

The participating dance companies are Ecole De Ballet Manille, Seven Contemporary Dance Company, De La Salle Zobel Ballet Program, Portland Festival Ballet, Quezon City Performing Arts Development Foundation, Inc.; Edge N’ Pointe Dance Centre, Dance Theatre Arts, Locsin Dance Workshop, Tlg Ballet, Far Eastern University Dance Company, Maquiling Ballet, Effie Nañas Ballet, Airdance, Dancepull Project, Inc.; Garcia-Sanchez School Of Dance (Bacolod City); Perry Sevidal Ballet; Daloy Dance Company; Steps Dance Studio, Annie Divinagracia-Sartorio School Of Performing Arts (Iloilo City); and the CCP Dance School.

The distinguished alumni of the company is a who’s who in the Philippine dance scene and they include Eddie Elejar, Agnes Locsin, Effie Nañas, Perry Sevidal, Luther Perez, Eduardo Malagkit, Robert Medina, Dwight Rodrigazo, Georgette Sanchez, Annie Divinagracia-Sartorio, Annette Cruz-Mariano, Ela Rodriguez, Verna Fajilan-Brazil, Ryan Bautista, Brezhnev Larlar, Toni Lopez Gonzalez, Nina Anonas, Christine Crame, Ava Maureen Villanueva-Ong, Ea Torrado, and Sofia Zobel-Elizalde.

The Homecoming Gala promises to be a fitting end to Ballet Philippines’ Blue Moon Series as the biggest names in Philippine dance present their works encompassing various genres like classical ballet, contemporary, pop and ethno-modern.

Seated from left to right: Margie Moran-Floirendo, Stella Abrera, and Paul Morales
Standing from left to right: Katherine Trofeo, Nonoy Froilan, Denise Parungao,
and Gina Katigbak-Garcia

For inquiries:

Ballet Philippines 551-1003

CCP Box Office 832-3704

Ticketworld 891-9999

Philippine Ballet Theatre's Le Corsaire

Jared Tan

I never expected that hanging out at the Cultural Center of the Philippines will find me going to exotic places, seeing swashbuckling pirates and getting awed by amazing dancing courtesy of the repeat Philippine Ballet Theatre’s Le Corsaire held at the Tanghalang Nicanor Abelardo (CCP Main Theater). The performance that I saw was actually a repeat of a previous run last April. The ballet, despite its obscurity, proved to be popular enough to warrant a repeat run. And I am extremely pleased to be able to catch it although I didn’t really plan on doing so.

Regine Magbitang

Lemuel Capa

Because of this unplanned trip to the ballet, I was able to discover a great talent by the name of Jared Tan. He used to be a principal soloist of the Philippine Ballet Theatre but has been part of the Atlanta Ballet for the past few seasons. And for this production, he returns to his previous company as a guest portraying the role of the slave Ali. Jared’s Ali was submissive and reserved befitting a slave but this demeanor belied his dancing capabilities. I never felt nervous whenever I saw him do his difficult moves because he looked so secure in his technique. I was impressed by the height of his jumps that seemed to last forever. And his strength was incredible as well especially when he raised one leg in the middle of executing a lift making that move a lot more difficult than it was. Jared’s manner as Ali was so totally different to the other male leads namely Lemuel Capa as dashing pirate Conrad, Mark Pineda as the traitorous Birbanto and Rolby Lacaba as the slave trader Lanquedem who were all brash and cocky. Other featured dancers in this ballet were Lobreza Pimentel as Gulnare and Regine Magbitang as Medora, women who were kidnapped and eventually sold as slaves at a public market. This ballet was restaged by Ronilo Jaynario from the original choreography by Frances Le Comb.

Lobreza Pimentel

Mark Pineda

The dancing, the sets, the costumes were great although I wish that there could’ve been a live orchestra that accompanied the production like their Romeo and Juliet about a couple of years ago which I’ve unfortunately missed. It would've made the music by Adolphe Adam (among others who are credited for composing the music for this ballet) really shine especially during the bedroom pas de deux. I still find it amusing how absurd the plot of this ballet with all the kidnapping, slave trading and finding romance in the midst of it all. I think that the dazzling choreography and dazzling visuals was the main selling point of this ballet instead of the silly plot.

Philippine Ballet Theatre Company Members

While the ballet’s plot may seem ridiculous, there’s nothing of that sort with the beneficiary of the performance during that night which was the Visayan Forum Fondation. The organization aims to rescue and help women who are victims of human trafficking. A brief presentation was held at the Little Theater Lobby to make the guests aware of the foundation’s projects. And a preview of The Fighters, a CNN documentary was shown as well. It was easy for me to shake my head in disbelief to the convoluted (and unbelievable) plot of Le Corsaire. But the real life plight of the victims of human trafficking is no laughing matter and one should take action in order to rescue them and persecute those who are responsible for the atrocity.

Ballet Philippines' Giselle

Carissa Adea and Richardson Yadao

The purist in me had been waiting for more than a year to see the traditional staging of Giselle ever since I saw Ballet David Campos’ modern/contemporary take on this classic ballet. And when Ballet Philippines’ announced that Giselle would be their opening production for their 44th Season IllumiNATION, that Nonoy Froilan would be restaging it after Jules Perrot, Jean Coralli and Marius Petipa, and that the Philippine Philharmonic Orchestra led by Olivier Ochanine would accompany in Gala performances, I felt doing Giselle’s variation in Act I out of pure joy.

I was able to watch the opening Gala Performance of the ballet held at the Cultural Center of the Philippines' Tanghalang Nicanor Abelardo (CCP Main Theater). The cast during that night were principal dancers Carissa Adea in the title role of Giselle and Richardson Yadao portraying the role of Albrecht. The other were Timothy Paul Cabrera as Hilarion, Rita Winder as Countess Bathilde and Queen Myrtha.

Carissa Adea

One thing I could say about Giselle is that the two acts are completely different from each other. The first act was festive, full of joy and had a very pleasant palette of fall colors. The dancing was spirited especially by Gilliane Geguinto, Cyril Fallar, Jemima Reyes and Emmanuelle Guillermo during the Peasant Pas de Quatre. And two of my most highly anticipated moments for this act were Giselle’s entrance and her famous variation. And all eyes were on Carissa Adea during THE mad scene to see how she was able to deliver in the acting department. I always felt that Carissa has more spunk and fire compared to Candice who exudes naïveté instead. And it’s great to see her hold back that spunk and then completely let go during the mad scene.

In the second act, things got a lot darker and more interesting. It’s hard to believe that this was the same ballet at all. Creepy, cold, foggy and devoid of color, this act introduces the Wilis, spirits of jilted maidens who exist to exact revenge on the male sex (innocent of not). One poor male, Hilarion who longed for Giselle too, became a victim of the Wilis and yet Albrecht, whose deception caused Giselle’s death in the first place, was spared because of her undying love. This part of the story makes me scratch my head since the innocent Hilarion had to die while the two timing Albrecht lived. But I was too mesmerized by the Pas de Deux by Carissa and Richardson Yadao that I finally gave in despite some protests of the reasonable part of my mind. And I think that this was also the hidden power of the corps de ballet who glided; changed positions on stage while en pointe and made everything look effortless as if they’re really spirits.

Richardson Yadao

One thing that I paid close attention to during this performance was the Philippine Philharmonic Orchestra, led by its music director and principal conductor Olivier Ochanine. The recurring leitmotifs especially during the second act were such a delight to listen to. I really liked how Giselle’s themes heard in the first act tried to find their way during the second act. It was as if Giselle is not allowing death to extinguish her soul. The viola is rarely used for solo passages but its timbre and range worked really well for the scenes in act two. But I still had some issues with the brass section which was spotty at times especially during the arrival of the hunting party in the village.

Shamaine Centenera-Buencamino

This production also featured a trio of theater personalities in acting roles: Shamaine Centenera-Buencamino as Giselle’s mother Berthe, Butch Esperanza as Wilfred and Bembol Roco as the Duke of Courtland. The roles of Wilfred and the Duke could’ve been portrayed by other actors and it wouldn’t have made that much of a difference. But Shamaine really made a mark in her role as Giselle’s worried mother who eventually grieved her loss.

I was so pleased to be able to catch Ballet Philippines’ Giselle. And this is just the start of their 44^th Season and there is still a bunch to come. Up next will be Rock Supremo which is a tribute to Philippine hero Andres Bonifacio who is celebrating the 150^th Anniversary of his birth.