Ballet Manila ends 24th season with double-bill Carmina Burana and La Traviata
Ballet Manila fuses opera and classical music with ballet in Carmina Burana & La Traviata (A Double Bill), the final offering in its 24th season dubbed On Pointe.
The two new works – La Traviata choreographed by BM artistic director Lisa Macuja-Elizalde and Carmina Burana by guest artist and former BM principal dancer Rudy De Dios – will premiere in shows slated on March 7, 6 p.m., and March 8, 3 p.m., at Samsung Hall, SM Aura, Bonifacio Global City, Taguig City.
In Lisa Macuja-Elizalde’s La Traviata, principal dancer Romeo Peralta performs as Alfredo who falls passionately in love with the conflicted Violetta. Photo by Jojit Lorenzo
La Traviata is based on the opera of the same name which Macuja-Elizalde considers her favorite. “The story lends itself to a ballet so beautifully. It’s simply so romantic and every aria is just so beautiful and moving.”
The dance interpretation focuses on the ill-fated romance between Violetta and Alfredo, which is complicated by the presence of Baron. Though Baron can provide for Violetta’s every whim, it is Alfredo whom she truly loves.
Choosing which arias to put into the ballet was the first challenge for Macuja-Elizalde. “Creating the libretto, casting and choreography followed suit. That went rather smoothly in the ballet studio once I had the dancers in front of me.”
As with her Princess Trilogy (Cinderella, Snow White and Sleeping Beauty), BM co-artistic director Osias Barroso played a part in shaping La Traviata. “Whether expressing his opinion on a scene, changing some steps to make the movement more graceful or effective, or cleaning the counting and group dances, Shaz has always been there to help and support me,” noted Macuja-Elizalde.
Carmina Burana, Rudy De Dios’ first full-length ballet, is based on medieval Latin poems set to music by Carl Orff. De Dios’ interpretation uses the dramatic music to highlight his story centering on the eternal battle of good versus evil.
In the kingdom of Tezra, the king Solom – with the guardian Spero and the divine help of Atheos – must lead his people in resisting the seductive lure of the villain Atheos. A showdown ensues, with the people ultimately saved but who must always make a conscious choice between virtue and sin.
Rudy De Dios’ Carmina Burana is an exploration of the eternal battle of good versus evil. Photo by Jojit Lorenzo
“I wanted to support Rudy the person and the partner and principal dancer when I came to him with the offer for a full-length Carmina Burana. He really worked hard and prepared very well for his Carmina debut,” said Macuja-Elizalde.
For De Dios, it was an opportunity not to be missed. Although sometimes beset by bouts of self-doubt and uncertainty, he has forged through to create a choreography that represents who he is.
Carmina Burana & La Traviata (A Double Bill) was originally planned with live orchestra music and singing, but it had to be scrapped as Ballet Manila continues to cope with the aftermath of a fire that damaged its two performance homes, Star Theater and Aliw Theater.
“On Pointe has been a rollercoaster of a season,” said Macuja-Elizalde. “The fire changed the venue and scope of all three productions planned for the season and completely changed our plans for our silver anniversary.”
Still, the artistic director is thankful that the company has managed to stage the three shows although scaled down and in different theaters. “There is relief that we are able to fulfill our obligations to the artists and staff of Ballet Manila – as well as our audience – most especially our subscribers and loyal supporters,” she shared.
Despite a more modest staging of La Traviata and Carmina Burana, she said viewers can expect what Ballet Manila has always stood for. “Nothing can take the place of an excellent performance and great dancing – the kind of dancing that takes many years of practice to achieve.”
