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Tag Archives: Jerome Tisserand

  • Pacific Northwest Ballet's The Sleeping Beauty Returns Better Than Ever

    Pacific Northwest Ballet principal dancer Kaori Nakamura as Princess Aurora in Ronald Hynd’s The Sleeping Beauty. Nakamura is one of four dancers performing the lead role in PNB’s presentation of the classic story ballet, running January 31 – February 9, 2014. Photo © Angela Sterling.

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    Lavish storybook sets, decadent costumes and gorgeous dancing provide the stunning backdrop to Pacific Northwest Ballet’s production of ‘The Sleeping Beauty’.

    Kaori Nakamura and Seth Orza brought the house to its feet in a standing ovation during Friday’s opening as Princess Aurora and her beloved Prince Florimund. Their technique was amazing, and the way they looked at each other? Hello! Talk about your fairytale romances! I loved how the two of them can take a character, even one as well known as Aurora and Florimund, and make them their own. Orza is just one of those dancers you love to watch…over ‘n over again. I’ve yet to see an “off” performance from him or one where I wasn’t fully enraptured with his character. He *IS* the Prince…every time, all the time.

    I was also highly impressed by how quickly Nakamura went from bubby teenage Princess in Act I, to delicately composed bride in Act III. While this electrifying ballerina recently announced her plans to retire at the end of the season, her performance proved that she still has what it takes to rock the ballet world for many years to come.

    Jonathan Poretta provided a breath of comedy (as well as a serious hint of creepy!) as the wicked fairy, Carabosse. I loved how he’d peek out from under his “hag hoodie” and how the strobe lights would “flash” whenever he (she?) flew through the air. (Mmmwwa ha ha haaa!) In fact, I was almost sad when he died at Florimund’s hand (just before that glorious kiss), but as we all know, good always triumphs over evil especially in fairy tales.

    Laura Tisserand’s Lilac Fairy was one of the best I’ve ever seen. The depth of her storytelling ability seems every bit as endless and beautiful as her extension (which is really saying something, folks!). Everything she does is just incredible.

    The king and queen (Otto Neubert and Maria Chapman) plead with the wicked fairy Carabosse (Pacific Northwest Ballet principal dancer Jonathan Porretta) in Ronald Hynd’s The Sleeping Beauty. Photo © Angela Sterling.

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    And speaking of incredible, Act III’s Gold and Silver Pas de Trois (featuring Lindsi Dec, Andrew Bartee and Jerome Tisserand) was nothing short of jaw-dropping. Bartee has really come into his own as an artist (can’t wait to see more from him!), while Tisserand almost oozes with delicious charisma. Dec’s thousand-watt smile and clean technique shined brighter than any diamond, easily re-solidifying her place as an audience favorite.

    Just before the show, Artistic Director Peter Boal announced five (!!) well deserved company promotions: Elizabeth Murphy, Margaret Mullin and William Lin-Yee were officially recognized as soloists, while Lindsi Dec and Laura Tisserand were bestowed the title of Principal. Talk about putting a big, luscious cherry on top of a fantastic opening night!

    The Sleeping Beauty runs through February 9th. Tickets available at PNB.org.

  • Pacific Northwest Ballet's Love Stories - A Delicious Romantic Treat

    Pacific Northwest Ballet principal dancers Lucien Postlewaite and Carrie Imler in the Black Swan pas de deux from Kent Stowell’s Swan Lake. Presented as part of LOVE STORIES, November 4-13, 2011. Photo © Angela Sterling

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    Pacific Northwest Ballet's Love Stories serves up a luscious 5-course feast of romance, seduction and passion!

    Opening Night's performance of Divertimento from Le Baiser de la Fée featured the talents of principal dancers, Kaori Nakamura and Jonathan Poretta in the headlining pas de deux. Nakamura is such an amazing dancer - delicate yet oh-so-strong; she looked like she was fully enjoying herself up there. Poretta of course, is just pure magic. (Seriously, if I could have my own life-size Poretta doll to wind up and watch him dance during random moments of levity, I would. Oh, and a Lucien Postlewaite replica, too. But I'm getting ahead of myself...) I was equally impressed by corps de ballet members, Jessika Anspach and Brittany Reid.  Their performance provided the soul to Nakamura and Poretta's "heart" and brought a sense of balance to this beautiful, lively piece.

    Next up was the Black Swan pas de deux from Swan Lake. For this the stage was stripped down to a bare  bones backdrop featuring a full silvery moon against a blue-black sky. Now, I have to be honest and admit that I felt a tad cheated by the lack of splendor associated with this scene - at first. But then, once principal dancers, Lucien Postlewaite and Carrie Imler entered the stage the message was clear: Who needs props and scenery when you've got these two dancing in front of you? And oh my goodness gracious, what a performance it was!!

    Imler was cunning, sexy, fiery and captivating - the perfect evil temptress, Odile. (Dazzling fouette turns and fluttery swan arms? To die for!) Postlewaite leaped and turned with the agility and grace of a gazelle - light, powerful and commanding all at once. And his expressions - are you kidding me? Schoolboy sweet and head over heels for Imler's charms - his Siegfried was brilliant!

    I couldn't tear my eyes away from their coy exchange and was eager to see how it would end, while hoping at the same time that perhaps - just perhaps - it wouldn't...Ah! Such delicious torture!  And as that final note echoed from the orchestra pit, the entire theatre exploded with a very boisterous, very appreciative standing ovation. Bravo and bellissima!

    Pacific Northwest Ballet corps de ballet dancers Jerome Tisserand and Kylee Kitchens in Jerome Robbins’ Afternoon of a Faun. Presented as part of LOVE STORIES, November 4-13, 2011. Photo © Angela Sterling

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    Afternoon of a Faun offered a rare treat in the form of corps de ballet members, Kylee Kitchens and Jerome Tisserand. Sensually riveting (and sans shirt), Tisserand's performance gave the female audience members something to smile about. I was especially impressed with the way he carried, swooped and scooped Kitchens across the stage (gorgeous!), while Kitchens managed to channel the likes of Darci Kistler, creating a character that not only had great hair, but an almost ethereal quality to her as well.

    It was tough following Swan Lake, that's for sure! But they managed to pull it off with superior aplomb.

    During the balcony scene from Romeo et Juliette we saw the return of Lucien Postlewaite and Kaori Nakamura. Again these two gifted dancers brought the house down with their depiction of rapturous, all-consuming young love. Playful yet bold, teasing yet shy, Postlewaite's "Mr. Touchy-Feely" is equally matched by Nakamura's "Look But Don't Touch - Okay, Perhaps Just a Little" Juliette. They gave an incredible performance, one that - again - I did not want to end.

    The crowning moment of the evening, complete with resplendent sets, props and plenty of sparkle was Aurora's Wedding from The Sleeping Beauty. In the spotlight were principal dancers, Lesley Rausch and Batkhurel Bold as Princess Aurora and Prince Florimund.

    Rausch's portrayal of the sixteen year old Princess was breathtaking and believable, while Bold's Prince was the definition of debonair and confidence. Their series of fish dives across the stage were beautifully executed. I especially enjoyed marveling at Rausch's sweet expression, incredible extensions and go-for-miles lines! She brings a decidedly fresh layer of charm to the stage that I hadn't realized was lacking before now.

    The Gold & Silver Pas de Trois featured Lindsi Dec, William Lin-Yee and Seth Orza. The men were every bit as superb as you would expect and in fact, I was especially pleased with how well corps de ballet member, Lin-Yee kept up with the likes of principal dancer, Orza who, let's face it, reached god-like status long ago. If he felt any intimidation about dancing alongside Orza, he didn't show it. Orza, of course, looked fantastic and made his variation look like child's play.

    Dec was joyful, delightful and effervescent as always. I love and appreciate how she makes every performance look like it's her happiest moment on earth.

    Pacific Northwest Ballet soloist Lindsi Dec in Aurora’s Wedding from Ronald Hynd’s The Sleeping Beauty.  Presented as part of LOVE STORIES, November 4-13, 2011. Photo © Angela Sterling

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    Tied for best variation within this section goes to Puss in Boots & White Cat (Ezra Thompson, Sarah Ricard Orza) and The Bluebird and Princess Florine (Jerome Tisserand, Rachel Foster). First up - Puss in Boots & The White Cat. Corps de ballet member, Ezra Thompson and soloist, Sarah Ricard Orza really outdid themselves with this number! These two have more "character" in their little fingers than others have in their entire body. Ricard-Orza's White Cat was all sass, "slapping" Thompson's "Puss" on the hand - er, paw - whenever he got a little too frisky. In the end, no kitty can resist a choice little mouse which Puss happily presented to Her Royal Divaness, the White Cat.

    As the Bluebird, Tisserand once again did not disappoint, while principal dancer, Rachel Foster's Princess Florine was absolutely flawless. She seems to have the Midas Touch when it comes to execution, technique and inner fire; it all turns to gold, baby! Love it...

    Love Stories runs through November 13th with excellent tickets still available! To learn more, please visit PNB.org.

    Reviewed by Denise Opper



  • Review: Pacific Northwest Ballet's All Wheeldon

    Pacific Northwest Ballet principal dancers Carla Körbes and Seth Orza in Christopher Wheeldon’s Carousel (A Dance), presented as part of PNB’s season-opener, ALL WHEELDON, September 23 – October 2, 2011.  Photo © Angela Sterling

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    Pacific Northwest Ballet opened its 2011-12 season with an outstanding production featuring four works from highly acclaimed dancer/choreographer, Christopher Wheeldon.

    I admit, I had high expectations for this production; first -  because I adore Wheeldon's work and second - I get a huge kick out of his accent. (Yes, I'm that superficial.) As always, the PNB dancers didn't let me down.

    The first piece of the night was Carousel (A Dance). Principal dancers, Seth Orza and Carla Korbes performed the lead pas de deux with stunning emotional intensity. Though not "in your face" passionate, their tender connection was undoubtedly arresting and satisfying.

    Not to be outdone, I also found soloist Benjamin Griffiths and corps de ballet members Kiyon Gaines and Ezra Thomson performances to be strong stand outs as well. Griffiths has such a beautiful quality to him (while his smile just lights up the stage);  Gaines' is big, powerful and yet moves with the grace of a sylph, and Thomson seems to be growing by leaps and bounds in terms of confidence, "voice" and artistic depth.

    After The Rain pas de deux featured soloist, James Moore with newly appointed principal, Rachel Foster, and is one of those pieces that you have to see to understand. It is beauty in its purest form. The fluidity, flexibility and extreme control executed by these two gorgeous dancers was just spectacular.

    While I've seen Moore perform numerous times, I was taken aback by just how "lovely" he is. His port de bras were amazing and the way he partnered the tiny Foster felt so protective, passionate and downright yummy. Foster was absolutely spellbinding as always. She's just one of those dancers I never tire of watching.

    Pacific Northwest Ballet soloists Rachel Foster and James Moore in Christopher Wheeldon’s After the Rain pas de deux, presented as part of PNB’s season-opener, ALL WHEELDON, September 23 – October 2, 2011.  Photo © Angela Sterling

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    The third piece of the night was Polyphonia which, I must admit, was the most difficult to enjoy. Not because of the dancers - oh no! - but rather because of some of the musical interludes, which were an assault to one's sense of order and balance.  Yet in spite of all this, Wheeldon (who must be part time super hero or something), managed to wrap this chaotic dervish in glittering paper and top it off with a shiny bow.

    Taking center stage again was soloist, Benjamin Griffiths along with principal dancer, Lucien Postlewaite in a dazzling pas de deux which smacked of male competitiveness with a hit of "coquettish" thrown in for spice, and soloist Sarah Ricard Orza and corps de ballet member, Jerome Tisserand in their own breathtaking pas de deux. These two have such a "quietly dynamic" sense of artistry that can, unfortunately, be overshadowed by their more dramatic peers. Therefore, it was great to see them paired together like that. Bravo!

    The final piece of the evening was Variations Serieuses, which is a laugh out loud parody of the dance world. The characters - prima (diva) ballerina, premiere danseur, pianist, stage manager, ballet master, conductor - are all played to the exaggerated, comedic hilt. Carrie Imler shined like a brilliant diamond as the spoiled, entirely-too-full-of-herself prima ballerina who is soon ousted out of the spotlight (due to injury) by the lovely ingénu, Sarah Ricard Orza, waiting sweetly in the wings.

    Pacific Northwest Ballet company dancers in Christopher Wheeldon’s Variations Sérieuses, presented as part of PNB’s season-opener, ALL WHEELDON, September 23 – October 2, 2011. Photo © Angela Sterling

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    This piece was the perfect follow up to the previous more intense acts. Again, the PNB dancers surpassed all expectations and bestowed a fantastic treat upon the entire audience. Kiyon Gaines' performance as the Ballet Master was freaking hysterical as was soloist, Lindsi Dec's butt-scratching, soda (beer?) swigging Stage Manager.

    To sum things up - All Wheeldon is all class and sass! It's a must-see and a glorious beginning to what looks to be an extraordinary new season.

    This is the final weekend to catch All Wheeldon. For tickets, please visit PNB.org.

  • Review: Pacific Northwest Ballet's Coppelia

    Pacific Northwest Ballet's Coppélia  All photos © Angela Sterling

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    Pacific Northwest Ballet pulled out all the stops with their latest production of George Balanchine's, Coppelia.  This fantastic production features all new lavishly designed (read: gorgeous!) sets, to die for costumes, and of course the high-caliber artistry that PNB is world-famous for.

    Swanilda/Coppélia

    Saturday's matinee featured Lesley Rausch as Swanilda/Coppelia, Jerome Tisserand as Franz, and Olivier Wevers as Dr. Coppelius.  Right off the bat, I have to give serious applause to Rausch for her outstanding interpretation. She not only delighted everyone in the audience with her arrogance and saucy attitude, but she transported us into the heart of her character. Sure, Swanilda isn't the nicest of young ladies, but her love for Franz is evident, even when faced with the sting of rejection.
     

    Franz

    Jerome Tisserand's Franz was perfectly executed. Like Rausch, he had a way drawing me in, making me feel almost as fed up with Swanilda's antics as he was. His attitude was a perfect blend of inflated ego meets young playboy looking for love.  After discovering that his love interest is only a doll, one would expect Franz to act a bit more sheepish over his foolish behavior. (I mean, seriously!) However, Tisserand remains true to character and Franz casually glosses over that "minor faux pas" with a sudden profession of love for Swanilda, which of course, she accepts.

    Dr. Coppelius

     
    Olivier Wevers deserved the standing ovation he received for his performance as the highly eccentric, slightly creepy, Dr. Coppelius. How it is Wevers can pull such multi-faceted characters out of his back pocket is beyond me! His Dr. Coppelius was a thrilling "yin and yang"; an absent-minded and lonely old man, whose walking stick doubles as a handy weapon against "the wild hooligans" of the town. But underneath that "grumpy old man" veneer lurks a borderline-fiendish soul.

    Honorable Mentions

     
    Act three's splendid cast also deserves special mention. I was most impressed by Carrie Imler's "Dawn" and Sarah Ricard Orza's "Prayer". These dancers gave equally passionate and exquisite performances. Imler was a vision of dazzling sunlight--bright, confident and striking.  Ricard Orza danced "Like a fairy tale princess!" (to quote the little one sitting next to me) with her flowing port de bras and delicate phrasing. The action-packed "Discord and War" featured Batkhurel Bold and Lindsi Dec entering the stage like wild flashes of lightning dressed in silvery armor. As always, the power behind these two striking  dancers takes your breath away. Their amazing turns and leaps were all done whilst holding long spears--none of which whacked anyone else nor made kabobs out of their thighs. (An acrobatic feat of epic proportions, especially when you consider how clumsy the rest of is--read: yours truly!--would be in the same situation.)PNB's Coppelia is filled with good natured humor, an outstanding cast, and delicious imagery. If you haven't yet made your way to McCaw Hall to catch the "Happiest Ballet on Earth!", I would highly suggest that you do so. Like...today!

    Coppelia runs from June 3rd-13th. Tickets are available by visiting PNB.org.

     

    For those of you unable to attend, please enjoy our gallery of  Pacific Northwest Ballet's premiere production of Coppélia: Choreography by Alexandra Danilova and George Balanchine © The George Balanchine Trust (after Marius Petipa).

    All Photos © Angela Sterling

    For more stunning dance photos, visit  Angela Sterling Photography.


    By Denise Opper

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