Silent Heartbreak at the National Ballet Of Canada

Harrison James and Svetlana Lunkina with Artists of the Ballet in Giselle. (Photo:Aleksandar Antonijevic)

Giselle is more than just a ballet; it explores themes of love, betrayal, and redemption that have enchanted audiences for nearly two centuries. Originally choreographed by Jean Coralli and Jules Perrot in 1841, this latest production of Sir Peter Wright’s acclaimed interpretation by the National Ballet of Canada, performed at Toronto’s Four Seasons Centre for the Performing Arts on November 20, brought this classic tale to life with remarkable artistry.

A Sparkling Jewels Crowns the National’s Season

Svetlana Lunkina and Spencer Hack with Artists of the National Ballet of Canada in "Emeralds" from Jewels. (Photo: Karolina Kuras)

“A ballet may contain a story, but the visual spectacle, not the story, is the essential element.” – George Balanchine

The National Ballet of Canada has saved its best for last, closing the 2023-2024 season with a dazzling revival of George Balanchine's three-act masterwork Jewels. This plotless full-length work, performed at Toronto's Four Seasons Centre until June 22, demands its dancers fully embody a prismatic array of distinct styles – the gossamer lyricism of "Emeralds," the jazzy insouciance of "Rubies," and the imperial grandeur of "Diamonds," each act inspired by a different orchestral piece and Balanchine’s fascination with the gemstone jewelry of Van Cleef & Arpels. Over the course of the two-hour program that opened last Saturday, the company met this challenge with nuanced, musically attuned performances that showcased their versatility and depth of talent. Crucially, they adhered to Balanchine's vision of ballet as a visual art form where the choreography, not the narrative, takes precedence.

A Rejuvenated Sleeping Beauty at the National Ballet of Canada

Harrison James and Heather Ogden with artists of the National Ballet of Canada in The Sleeping Beauty. (Photo: Teresa Wood)

As a harbinger of spring, the National Ballet of Canada’s recent presentation of The Sleeping Beauty was an especially happy occasion. The first lavishly designed full-length ballet to open on the Four Seasons Centre stage since the March 2020 lockdowns, it burst on the eye like a garden of suddenly blooming flowers. Oh the sumptuousness of it all. And how sorely such choreographed extravagance, the ultimate in escapism, has been missed during the bleak days of the pandemic.