Inamorata: A unique tribute

Ballet Philippines’ “Inamorata” at the CCP main theater was a tribute to woman through her triumphs and travails. Principal tribute was “Everywoman” choreographed by Denisa Reyes and her dancers. In the highly innovative and imaginative piece, Rita Winder as “Everywoman” was forceful and dramatic among several male characters — a serpent (Brizel Maribbay), a bishop (Angel Gabriel) and priests. Rita drove home the message that woman, though oppressed by men, can still assert herself.

The choreography contained movements which, to the puritan and conservative, may have appeared awkwardly sensual. But “Everywoman was a dynamic vehicle, with the priests’ clever manipulation of chairs ending in an arresting pose by the entire ensemble.

The program opened with the “Harlequinade” pas de deux performed by Katherine Trofeo and Earl John Arisola. Re-staged by Victor Ursabia, and executed with assurance, the number was well-received by aficionados of classic ballet.

Much more fascinating was the “Flames of Paris” pas de deus starring Candice Adea and Jean Marc Cordero, and re-staged by Ursabia. The number as well as “Moving Two” by Dwight Rodrigazo proved beyond doubt that Candice and Jean Marc are the most technically skilled dancers of the company, the former moving with lyrical grace, her steps remarkably controlled, the latter giving manly support and executing feats with verve and élan. The duets and solo variations were enthralling.

“Hardin ng Balo” (Garden of the Widow) choreographed by Dwight Rodrigazo, had Carissa Adea, the widow in black, eloquently groveling, twisting and contorting in her grief while soprano Rachelle Gerodias was exquisitely rendering Puccini’s aria “O Mio Babbino Caro”. “Hardin ng Balo”, in the modern dance idiom, was most gripping.

Infectiously brisk, energetic and vibrant, “Japayuki” choreographed by Alden Luguasan, was performed on an elevated platform by ballerinas in colorful costumes. It later focused on Katherine Trofeo, in sparkling red, conveying an utterly assertive, magnetic personality.

Rachelle Gerodias thrilled the audience once more, this time singing Puccini’s aria “Quando Me’n Vo” her expression subtly sensitive, her dynamics superbly controlled.

Choreographer Carlo Pacis’ “Muthi”, to Schumann’s music was poetry in motion. Katherine Trofeo, enclosed in a huge picture frame with a curtain blowing in the wind, had a billowy train trailing behind her. She deftly maneuvered it as she and Angel Gabriel portrayed a pair of ecstatic young lovers who, as the printed program expresses it “experience loss at its keenest level. Eminent soprano Camille Lopez Molina enhanced the romantic character of “Muthi”.

Both the choreography of Paul Alexander Morales and the propulsive, powerful and percussive music of the late Spanish Ambassador Delfin Colomé “Amar Como el Mar” evoked the sea, the audience “feeling” the breezes, “seeing” the waves rushing to the shore, and “fearing” stormy weather. Executed by dancers led by Earl John Arisola and Charmaine Bianca Perez as the lovers, “Amor Como el Mar” was a fitting finale to the uniquely entertaining “Inamorata”. As the curtains closed, dancers and choreographers were heartily applauded.

Before the show, BP president Margie Floreindo pointed to the presence of Alice Reyes who initially founded the modern dance company which later metamorphosed into Ballet Philippines. The evening’s presentation was largely modern in approach — e.g., angular arms, toes pointed upward, earth rather than air bound — fused with classic.

Also present was Doña Elena Colomé, widow of Don Delfin whose music for “Amar Como el Mar” was a vital and significant contribution to the dance concert.