This Month in BM History: March 2020
The cover of the souvenir program of Carmina Burana & La Traviata (A Double Bill). From the Ballet Manila Archives collection
Still reeling from a fire that struck Aliw Theater five months before, Ballet Manila had to find another venue for its 24th performance season-ender in March 2020.
The eternal battle of good versus evil is at the heart of Rudy De Dios’ Carmina Burana as the villainous Atheos (John Balagot), left, confronts the virtuous king Solom (Gerardo Francisco). Photo by Giselle P. Kasilag
For the double bill that was Carmina Burana & La Traviata – new choreographies based on familiar music and material – the premiere would be at the Samsung Hall of SM Aura, Bonifacio Global City, Taguig City. More used to the expansive stage of Aliw Theater, the company had to adapt and make the production work despite the limitations of the space and the reality of their situation.
Live orchestra and live singing – originally intended for the twin production merging opera and ballet – had to be dispensed with. But as artistic director Lisa Macuja-Elizalde asserted then, “There is definitely nothing scaled down about the quality of dancing and storytelling on our toes that you will watch.”
A ticket to Carmina Burana & La Traviata, issued by TicketWorld as part of a season pass to Ballet Manila’s 24th performance season, shows the original venue for the production. From the Ballet Manila Archives collection
Carmina Burana, former Ballet Manila principal dancer 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 Agappe – 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.
Carmina Burana choreographer Rudy De Dios (center) and his cast acknowledge the audience’s applause after its premiere performance. Photo by Erickson dela Cruz
La Traviata was choreographed by Macuja-Elizalde who considers the opera of the same title as 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.”
Violetta (Abigail Oliveiro) is torn between Baron (Joshua Enciso, left) who can give her material comforts, and Alfredo (Mark Sumaylo), whom she loves. Photo by Giselle P. Kasilag
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.
Despite a more modest staging of Carmina Burana & La Traviata (A Double Bill), Macuja-Elizalde declared: “Nothing can take the place of an excellent performance and great dancing – the kind of dancing that takes many years of practice to achieve.”
Ballet Manila artistic director and La Traviata choreographer Lisa Macuja-Elizalde is reduced to tears at curtain call, as the dancers cheer her on. Photo by Giselle P. Kasilag
