Lisa Macuja-Elizalde reacts to Ballet Philippines' non-Filipino artistic director
MANILA, Philippines — After its dreamy presentation of "Sleeping Beauty," Ballet Manila takes on the elements of tragedy as it tackles a twin billing that features the 13th century cantatas of "Carmina Burana" and the timeless Italian opera "La Traviata."
This rare and powerful performance will combine classical ballet and music and opera for a one-of-a-kind production scheduled on March 7, 6 p.m. and March 8, 3 p.m. at the Samsung Hall, SM Aura Premier, Taguig City.
Emotions and lessons
The two world premiere performances feature original choreography imagined to the haunting melodies of the classical works.
Rudy de Dios, former Ballet Manila principal dancer, interprets the forceful music of :"Carmina Burana," weaving a story about power struggles and the connection between man and the heavens.
The choreographer says that his work, with characters storming the stage in dances set to cantatas that include the soaring melody of "O Fortuna," is a story of hope.
“I want to show the audience na kahit anong mangyari sa buhay, kahit anong experience or tests, kayang ma-overcome,” he said.
Leading the ensemble of "Carmina Burana" are Romeo Peralta as Solom, Gerardo Francisco as Spreo, Joan Sia as Agape, and John Ralp Balagot as Atheos.
Prima Ballerina Lisa Macuja-Elizalde takes on the choreographer’s role for "La Traviata," a tragedy that she first saw as a movie when she was a teenager doing her classical dance training in Russia, and it moved her to tears. The love story between Violeta and Alfredo have been retold many times in different formats but she gives it a new twirl by introducing characters to help move the story along due to time constraints on the Ballet Manila stage.
"La Traviata" will come to life with Nicole Barroso as Violetta, Mark Sumaylo as Alfredo, John Ralp Balagot as Giorgio Germont, and Joshua Enciso as the Baron.
In the same vein that the still-stunning ballerina made this writer cry years ago in a performance of "Madame Butterfly," she told her tragic "Violettas" to evoke emotions from the audience by “making the character their own,” in the same way that she made the choreography for "La Traviata" infused with her own interpretation of the timeless tale of star-crossed lovers caught in between a social class struggle.
Leaps of faith
Speaking of time constraints, Macuja-Elizalde says that it is one of the challenges of performing outside their home, Aliw Theater, which was affected by the 2019 fire in Star City.
“We are not able to do what we used to do, which is get into The Aliw Theater or Star Theater a week before opening night and polish everything onstage before opening night. Now, the pressure is to make everything pulido during rehearsals at the studio.”
With "Sleeping Beauty," she recalled, they went into the venue on the day of the show itself. “It is a difficulty we have to adjust to, whether as director or as dancers,” she said with a smile. The good news is that they foresee the reopening of the Aliw Theater by October this year.
More good news is that they are kicking off the 25th season of the company with a Silver Anniversary gala performance at the CCP Main Theater on July 19.
Afterwards, they go on tour with Gerardo Francisco’s "Ibong Adarna" starting August.
Focus on the dancers
When asked about the ongoing controversy about Ballet Philippines' new artistic director, Russian Mikhail “Misha” Martynyuk, that spilled over social media, Lisa readily gave her candid answer.
Macuja-Elizalde, who became the first artist-in-residence of the Cultural Center of the Philippines (CCP) while dancing with Ballet Philippines, said that she did not expect the reactions the appointment received on social media.
“I was expecting some backlash, but I definitely did not expect how it escalated to this point, how large-scale and destructive it has become,” she said. “At the end of the day, it is the dancers that are affected, all they want to do is dance."
As to whether she would consider handing over the reins of her company to a non-Filipino in the future, she said, “We continue to develop new dancers and we have local and international tours. The way we dance the classics is very Russian and we have brought in Russian teachers in the past. I don’t pretend to be anything else because I am Russian-trained, but we do perform our Filipino classics such as the upcoming 'Ibong Adarna.' It is very Filipino and very ethnic.”
She added: “Many people have said that ‘As soon as Lisa Macuja stops dancing, that will be the end of Ballet Manila.' I have stopped dancing for many years now but Ballet Manila continues to grow, it continues to develop new dancers and we go on local and international tours.”
At this point, she said with a pretty laugh: “I do see myself being artistic director and leading the company well into my senior citizenship and old age. I was a ballerina, and I am now blessed with the ability to teach, choreograph, and coach other dancers and let them grow. I am blessed with the ability to lead, and I really hope I am blessed with a long life to continue doing what I am doing.”
