Recrafting ‘Carmina Burana’: Rudy De Dios and the biggest project of his life
The choreographer’s lair: In this clip, Rudy De Dios is seen in action giving choreographic directions to principal dancer Gerado Francisco Jr. and company artist John Ralp Balagot. Video by Giselle P. Kasilag
By Jv Ramos
Though Rudy De Dios, one of Ballet Manila’s longtime principal danseurs, has been doing choreography work since his days at the Philippine High School for the Arts, it’s only now that he is creating a full-length ballet – his own version of Carmina Burana, which premieres in March.
What’s interesting about this endeavor is that Rudy has always eyed Carl Orff’s 1937 scenic cantata, based on a set of poems and dramatic text in Latin dating back to the 13th century. “Iba ang feeling kapag sinayaw mo ito o kahit napanood mo lang,” he reasons. Tumatatak talaga sa iyo ang Carmina Burana – ang presence ng dancers, ng orchestra at ng mga kumakanta. Kaya noon, naisip ko na sana isang araw, magkaroon ako ng chance na gumawa ng Carmina Burana para sa Ballet Manila.” (There’s a different kind of feeling that comes with dancing Carmina Burana or even just watching the ballet. It really has a lasting appeal – the presence of the dancers, the orchestra and the chorists. It’s because of this unforgettable impact that I once hoped that I’d be able to choreograph a Carmina Burana for Ballet Manila.)
Though still very much fit for active dancing, Rudy De Dios stopped from performing so he could concentrate on making his first full-length choreography, his own version of Carmina Burana, for Ballet Manila. Photo by Jimmy Villanueva
How his dream eventually materialized happened rather casually. “Nagsimula po lahat sa Russia,” shares Rudy, referring to the company’s tour back in 2016, when they danced in Moscow and St. Petersburg for a cultural celebration called Days of Philippine Culture in Russia. While having breakfast, Ballet Manila artistic director Lisa Macuja-Elizalde approached him to say that she had a project for him – to choreograph a dance piece using O Fortuna from Carmina Burana for the Klassikal Music Foundation.
Having always been fond of Carl Orff’s piece, Rudy was enthusiastic about the assignment, and then mentioned to the prima ballerina how he had always wanted to choreograph his own version of Carmina Burana. “Hindi ko inakala na sasabihin niya na, ‘Let’s do a full-length then for Ballet Manila.’ Sobrang natuwa talaga ako nang sinabi niya iyon!" (I didn’t expect her to reply, ‘Let’s do a full-length then for Ballet Manila.’ I was so happy when she said that.)
Lisa is effusive about supporting Rudy and his dream project, saying that he wants him to shine as a choreographer – in the same way she backed BM resident choreographer Gerardo Francisco in his vision for Ibong Adarna in 2017. She feels strongly that her former partner is up to the challenge, given his long list of accomplishments which she proceeds to rattle off: “Rudy has more than 15 years of performing and working experience. He has worked on original choreography with so many different choreographers, foreign and local, in his term as a principal dancer with Ballet Manila. He is an outstanding graduate of the Philippine High School for the Arts. He has also done choreography in the past and won awards for it in local competitions. He has done workshops both here and abroad. I think he is very qualified to be given many choreographic projects now and in the future of Ballet Manila.”
Rudy De Dios (second from right) steps into the choreographer’s shoes, working on Carmina Burana with (from left) soloist Joshua Enciso, and principal dancers Mark Sumaylo, Romeo Peralta and Gerardo Francisco. Photo by Giselle P. Kasilag
The artistic director only had one condition for Rudy for his full-length choreographic debut: That his Carmina Burana should present a narrative. "Masyado nang maraming versions na abstract o puro movement lang, ang sabi ni Ma'am Lise. Nakita ko ang point niya, kaya ang unang trinabaho ko ay ang istorya." (There are too many versions that are abstract or display pure movement, Ma’am Lise said. I understood what she meant, so the first thing I worked on was the story.)
As his body of choreographed pieces have always involved a plot, Rudy was already used to crafting stories with music as his starting point. Carmina Burana, being written in Latin, demanded a longer process. He had to research the most faithful English translation, understand the message of its three parts, and come up with a story that reflected the message and the flow of the music. Even if the audience doesn’t understand Latin, he preferred that the story of his ballet would be attuned to the context of the music.
Asked what he personally feels when listening to the iconic musical work, he explains, "Very cinematic ang dating ng Carmina Burana. Maiisip mo ang struggle ng isang atleta or kaya naman ang isang medieval na adventure. Pero kahit ang lakas ng dating, hindi mabigat ang feeling na binibigay nito. Very inspiring para sa akin ang music. Para bang may malaking goal na inaabot. Nakaka-uplift ng pakiramdam." (Carmina Burana has a very cinematic vibe. It makes you think of an athlete overcoming struggles or even a medieval adventure. But despite its powerful vibe, Carmina Burana doesn’t leave you with a heavy feeling. The music is very inspiring for me. It’s like you’re about to reach a big goal. It’s very uplifting.)
Rudy (left) is in his element in the studio, teaching a movement from his choreography to company artist John Ralp Balagot. Photo by Giselle P. Kasilag
His interpretation of the flow of the music combined with his research then translated to an epic story set in a city called Tezra, whose peaceful days are interrupted by a great drought. Seeing that its citizens are in a state of despair, the evil being Atheos takes advantage and convinces them that their god Agape has completely abandoned them.
Solom and his faithful guardian Spero fight Atheos' infiltration of their city and temporarily succeed. Atheos, however, persists and ends up corrupting the protagonist Solom. The fight between good and evil continues, even involving a sojourn to the underworld. But despite all the drastic changes in character and pain caused, it’s the good that still prevails in the end. "Gusto ko na makita ng mga manonood na laging nananalo ang kabutihan, kahit gaano pa karami ang masama na nangyayari." (What I want audiences to take away is that good always wins, no matter how many obstacles or tragedies happen.)
Having trained in and preferred classical ballet throughout his dancing career, Rudy felt he still had much to learn about contemporary choreography. Thus, when he went to the United States for a vacation in 2019, he took workshops at the New York City Center. There, he danced pieces inspired by Merce Cunningham, one of the leading figures in American modern dance. In addition, he watched plenty of contemporary pieces on YouTube to familiarize himself with the vocabulary of the style, and to make sure that his Carmina Burana would not be anything like other pieces.
Always a student of dance, he comments, "Naging magandang foundation to contemporary dance ang natutunan ko sa New York. Sa panonood ng mga contemporary pieces ko naman natututunan ang pag-explore ng iba pang movement.” (The workshops I took in New York became a good foundation for contemporary dance. And all the videos I have been watching teach me how to explore more movements.)
For the CCP Ballet Competition in 2018, Rudy choreographed the boxing-themed contemporary piece In the Red Corner for Jefferson Balute. Photo by Giselle P. Kasilag
Working on a full-length production has also made Rudy realize more things about himself. For instance, he observed that he can’t just show up in the studio and come up with a variation after listening to the musical piece a few times.
“Hindi ako spontaneous. Or at least, hindi ako ganyan sa ngayon! Kailangan ko talagang pakinggan ang music at isipin ang mga movement. Kailangan ko rin ilista ang bawat galaw. Kailangan nakalista sa notebook ko ang lahat-lahat bago ako magturo.” (I’m not spontaneous. Or at least, I’m not now! I really have to take my time listening to the music and think of the corresponding movements. I also have to write down in a notebook every move and combination I come up with. Every detail has to be listed before I begin teaching the choreography.)
Rudy notes that his “scripted” choreography style is something he picked up from the company’s co-artistic director Osias Barroso, who, even for his daily classes, has every combination written down in his notebook.
“Na-a-appreciate ko ang style ni Sir Shaz. Dahil napaka-well-prepared, hindi ka paghihintayin. Alam mo na agad kung ano ang susunod na movement. Tuloy-tuloy lang ang klase at ang pag-choreograph. Ang sabi ko nga noon kung magtuturo ako, gusto ko ay well-prepared rin ako kagaya niya.” (I really appreciate the style of Sir Shaz. Because he comes in very well-prepared, he never makes the dancers wait. You already know what movement comes next. The class and the choreography just flow. I remember telling myself that if I were to teach, I want to be as well-prepared as him.)
Comedy and romance unfold in Kinabuhing Mananagat, Rudy’s choreography set to Visayan folk songs. Photo by Giselle P. Kasilag
He also reflects that there are things one notices as a choreographer which he never really encountered when he was dancing full-time. “Kapag choreographer ka pala, nararamdaman mo talaga kung anong energy ang binabato ng dancers. Ramdam na ramdan mo kung tinatamad sila o kaya naman ay kung wala sila sa moment,” he laughingly notes. (When you’re the choreographer, you really feel the kind of energy the dancers exude. You can really sense if they’re feeling lazy or if they are not in the moment.)
There may be days of frustration and distraction, but just like in the story Rudy crafted, it’s the good that always succeeds. With less than a month to go before show time, the choreographer says he is satisfied and is sure that his colleagues will be able to carry out his vision for Carmina Burana. “They are all such amazing performers,” he describes, even as he himself admits to simultaneous feelings of excitement and nervousness as the premiere nears. “Ito na ang pinakamalaking project na ginawa ko. At hindi lang sa ballet ha, sa buong buhay ko!” (This is the biggest project I’ve ever worked on. And not just in ballet, but my entire life!)
During his dancing years, Rudy was known for giving every role his all. And that’s precisely what he’s been doing too as he breathes life to Ballet Manila’s Carmina Burana.
