Visiting dancers fascinate in Bard's Romeo and Juliet / Opera news from Eddie Yap

Promising American dancers Naomi Hergott, 17, and David Kiyak, 21, are closer in age to the Bard’s Romeo and Juliet than most dancers who portray the roles. Although it takes more mature, more seasoned artists to depict youth onstage, Hergott and Kiyak were highly persuasive as the youthful lovers.

With each displaying a neat, polished technique, both performed with marked distinction. Their dancing was nearly flawless; Kiyak’s partnering was excellent; his lifts smooth and effortless; his leaps soaring. Hergott was graceful and light, floating like a feather.

Further, their emoting was movingly expressive. In each pas de deux — in the ballroom, the balcony, the bedroom — the pair vowed eternal love for each other in eloquent gestures conveying young love, young passion in full commitment to their roles. To use a cliché, they seemed made for each other.

The morning after the balcony scene, Romeo, in a daze, was tottering aimlessly and absent-mindedly in the town square his thoughts still on the magical night so briefly yet so memorably spent with his beloved Juliet.

At the crypt, Romeo, devastated, danced despairingly with a “lifeless” Juliet. Waking up from her slumber to find Romeo dead, having poisoned himself, the frantic Juliet tossed about in inconsolable grief, then plunged a dagger into her heart.

The audience watched mesmerized as the tragedy deepened at every passing moment.

Re-staged and directed by prima ballerina Maniya Barredo, the Philippine Theatre Ballet production brimmed with life and throbbed with action. Amidst the competent corps de ballet were the three concubines — Isabel Guidote, Tiffany Mangulabanan, and Lea de Guzman — fascinatingly flirtatious, endlessly calling attention to their feminine wiles in their fetching attire. (The ballerinas in the square, however, were in costumes whose colors did not quite harmonize.)

Peter San Juan as Mercutio, Robby Lacaba as Benvolio, Lemuel Capa as Tybalt whirled and jeted with flair, and engaged in exciting duels. Anatoli Panasukov, PBT rehearsal and ballet master, could easily be singled out in the crowded ballroom for his arrogant stance as Lord Capulet. Maritoni Rufino Tordesillas portrayed the dignified Lady Capulet. Charlemagne Gementiza won sympathy as Juliet’s jilted suitor. Joel Matias was the harried Friar Lawrence while Rosalie Carreon essayed the role of a thoroughly convincing nurse — awkward, nervous, often frantic as she kept an eye on her ward. Jeff Comeros was the fleet-footed jester. In cameo roles were Stanley Cañete and Erica Jacinto as Lord and Lady Montague.

Simple, functional sets by Charlemagne Gementiza kept changing swiftly, transporting the audience from square, palace, balcony, square, bedroom, chapel, and finally, to crypt.

The fiery Maestro Gerard Salonga conducted the FilharmoniKa in the powerful, descriptive music of Prokofiev with a firm, sure baton, melodic lines, tempo and dynamics reflecting eloquently the action and emotion of the dancers.

The production was a grand venture and adventure for the experienced Maniya Barredo, a doyenne of dance who re-created Tom Pazik’s choreography.

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Prior to the ballet program, Chacha Camacho welcomed the audience and presented PBT’s committee members in all their elegant finery, with Mars Lambino attired like a prince.

Opera news from Eddie Yap

Authority on classic music Eddie Yap, who is often asked to direct musical presentations, regularly travels abroad with his charming wife Dellie to get a fill-in on operatic performances.

During their recent trip, they heard Angela Gheorghiu in her Canadian debut, accompanied by the Vancouver Symphony Orchestra under Bramwell Tovey.

Angela has been described as “one of nature’s true vocal geniuses, one of the great vocalists of her time.” The Yaps were thrilled by her magnificent voice and dazzling stage presence as she rendered arias.

The Romanian superstar, according to Eddie made her international debut in 1992 at Covent Garden with La Boheme, and in the same year at the Metropolitan Opera in New York and in Vienna’s Statsoper. Since then she has been in constant demand in major opera houses and concert halls of Europe, the US, and Asia.

Welcome to Manila, Angela!