Graceful exits
In scenes fraught with heart-wrenching anguish, Ballet Manila has artfully merged death and dance. Though tragic and often violent, these moments can also be cathartic as select characters and the stories they belong to come to their inevitable end. In observance of All Saints’ Day (November 1) and All Souls’ Day (November 2), we take a look at some of these graceful exits.
Alfredo (Romeo Peralta) weeps as he catches Violetta (Joan Emery Sia) in his arms after expiring from a lingering illness in Lisa Macuja-Elizalde’s La Traviata (2020). Thinking that Violetta had chosen another man over him, Alfredo spurns her, only to find out the truth later on that she really loved him. But when he seeks her out to beg for her forgiveness, it is too late. Photo by Giselle P. Kasilag
Siegfried (Osias Barroso) and Odette (Lisa Macuja-Elizalde) would rather face death than succumb to Rothbart’s evil magic in Swan Lake (2003). Leaping to their deaths, the lovers are reunited as they rise to the heavens, with the enchanted swans celebrating as their act breaks the spell and Rothbart’s power. Photo by Ocs Alvarez
Juliet (Abigail Oliveiro) comes to the bitter realization that Romeo (Brian Williamson) is dead in Paul Vasterling’s Romeo and Juliet (2015). She had taken a potion that would put her in a death-like sleep but when Romeo finds her in the family tomb, he thinks she has passed away and drinks poison. Grief-stricken, Juliet decides to plunge a dagger into her heart to join her beloved. Photo by Ocs Alvarez
Solor (Niño Guevara) grieves over the lifeless body of Nikiya (Marian Faustino) in La Bayadere (2004). After swearing their love to each other before the sacred flame, Solor breaks his vow when he agrees to marry Gamzatti, the Rajah’s daughter. At her betrothal to Solor, Gamzatti schemes to have her rival bitten by a snake. Nikiya is offered an antidote, but she chooses to die than live without Solor. Photo by Ocs Alvarez
The gamekeeper Hilarion (Mark Sumaylo) goes to visit the grave of Giselle whom he has loved for so long in Giselle (2019). But he unwittingly stumbles into the dominion of the wilis, the spirits of women who have been wronged by men. Led by their unforgiving queen, Myrtha, the wilis surround Hilarion and compel him to dance until his demise.
Carmen (Rissa May Camaclang) is surprised by the sudden appearance of Don Jose (Romeo Peralta) in this scene from Carmen, as featured in Iconic 2.0 (2018). Disdainfully, she dismisses his desperate plea for her to return to him. In a fit of rage and passion, the obsessed Don Jose drives a knife into her and Carmen who – unapologetic to the end – sneers and dies in his arms.
