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Le Corsaire: Ballet with Flair Philadelphia
The Academy of Music
10/18/2024 - & October 19, 24, 26, 2024
Le Corsaire
Angel Corella (choreography, after Marius Petipa & Lev Ivanov), Adolphe Adam (music)
Philadelphia Ballet: Angel Corella (artistic director), Yuka Iseda/Nayara Lopes/Oksana Maslova*/Mayara Pineiro (Medora), Sterling Baca*/Arian Molina Soca/Pau Pujol/Jack Thomas (Conrad), Sydney Dolan*/Mayara Pineiro/So Jung Shin/Dayesi Torriente (Gulnare), Sterling Baca/Yuval Cohen/Austin Eyler*/Nicholas Patterson (Lanquedem), Isaac Hollis/Zecheng Liang*/Arian Molina Soca/Ashton Roxander (Ali), Federico D’Ortenzi/Zecheng Liang/Nicholas Patterson/Ashton Roxander* (Biribanto), Lucia Erickson, So Jung Shin, Sydney Dolan/Alexandra Heier*, Gabriela Mesa*, Anna Serratosa*/Jacqueline Callahan, Scarlett Güémez, Mayfield Myers/Sophie Savas-Carstens, Giovanna Assis Genovez, Mine Kusano (Odalisques), Juan Montobbio Maestre, Sophie Savas‑Carstens (From corps de ballet)
Philadelphia Ballet Orchestra, Beatrice Jona Affron (conductor)
Sasha Anistratova (lighting design)
D. Torriente, S. Baca (© Alexander Iziliaev)
Celebrating 60 years of professional ballet performances, the Philadelphia Ballet is going strong with its season opener, Le Corsaire, the 19th century classic with music by Adolphe Adam. This talented troupe, with world‑class dancers, musicians, direction, and visuals, clearly has survived issues surrounding its name change in 2021 (from the Pennsylvania Ballet). Under the artistic leadership of Angel Corella, the ensemble is continually reestablishing itself as a major artistic powerhouse in a full range of ballet performances from tutu classics to contemporary edge.
The plot of the three-act ballet has an Arabian Nights‑type setting. A pirate captain (Conrad played by Sterling Baca) falls in love with an enslaved woman (Medora played by Oksana Maslova). He manages to free her from bondage in the final act, escaping a fire which destroys the pirate ship.
This production favors the aesthetic values and social perspectives of an earlier age and is less focused on global issues of sex trafficking, slavery, and related topics that genuinely concern us today. However, the ballet does extol freedom and true love while casting a disapproving eye on oppression.
Most satisfying about this production is the integrity of the whole, from congenial settings that allow the corps de ballet players ample space to exhibit their talent, to costumes that allow the viewer to savor the movements—subtle and grand—of individuals and groups. Corella’s choreography, after Marius Petipa (1818‑1910), tells its story through the sinuosity of movement in contact with the peripherals of the proscenium universe: light, attire, makeup, decor. All function seamlessly together to create a tale told beyond the confines of language.
Zooming down from the general to the particular, it is such a pleasure to watch the luminaries of the Philadelphia Ballet perform this work. Baca and Maslova radiate true star power in their individual and duet sequences as the put‑upon lovers. Baca brings an aura of poise and authority to his role in a ballet known for its masculine presence. Whether in pirouettes or elegant lifts, Maslova is precise and feather‑light in her articulation, confident in step and attitude. Sydney Dolan, a dancer of impressive self‑assurance and grace, commands attention as Gulnare, Medora’s friend, a major figure in the unfolding drama.
In Act II, Zecheng Liang brings impeccable technique and captivating spirit to what is one of the most beloved solos for men in classical ballet. As Conrad’s servant, Ali, he saves the day for his master on several occasions. Varieties of this solo, popularized by both Nureyev and Baryshnikov, pop up on social media from time to time, but there is nothing like the thrill of seeing a principal dancer of Zecheng’s caliber taking breathtaking leaps and twirls on the Academy of Music stage, framed by the Academy’s golden columns.
Even though this ballet has tragic notes, and all the pirate characters, save Conrad, perish in the final scene, the Philadelphia Ballet production is one of lightness and energy, thanks in a large part to the effervescence and sweeping liveliness of the Philadelphia Ballet Orchestra. What a terrific ensemble, under the spirited direction of Beatrice Jona Affron. Adam’s score is a pretty patchwork of tunes and airs that encourages smiles and tapping toes. Affron allows her principals the freedom to play solo passages with ease and good humor. I was particularly impressed by some cheerful solo phrases by violin, harp, and flute, as well as the bright colors of the trumpet.
Appreciation of the plot is not required for this production. Philadelphia Ballet’s Le Corsaire speaks a language without words, conveying the pure joy and wonder of classic dance.
Linda Holt
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