The latest World Happiness Report, rates Finland as the cheeriest country and it seems Ballet Director, Javier Torres, intends to keep it this way with a revival of his very popular and family-friendly version of The Sleeping Beauty. Torres has made dramatic changes to the telling of the story but much of Petipa’s choreography remains intact. Beauty is a ballet that makes demands on the quality of the dancers at every level, and from an impeccable corps to first-rate principals, the Finnish National Ballet delivered, accompanied by their National Orchestra conducted by Maria Seletskaja.
There was added excitement as Hye Ji Kang, as Aurora and Clark Eselgroth, as Prince Désiré were both making their debuts. Aurora is one of the most challenging roles for any ballerina. Kang made a vivacious start but approached the Rose Adage with excess caution. She continued to a solo with perfectly balanced pirouettes proving her promise but then, with Eselgroth at her side they danced a glorious Grand Pas de Deux, so confident and serene it was difficult to believe that this was their first performance. The close rapport of the couple created a true fairytale romance, the virtuosity delivered with charm and complete harmony in the partnering. The final thrill was Eselgroth’s promotion to first soloist which Torres announced at the curtain calls.
The ballet at two and a half hours is a much shorter version, now divided into two acts. There are only three fairies who as godmothers, follow Aurora through her enchantment and wedding. Syrene, the fairy of love, replaces the Lilac Fairy and Zhiyao Chen took on the role with authority and showed a beautiful classical line. Fairy of Joy, Hatice Çağla Ertürk and Fairy of Courage, Seo Yeun Kim bring gifts of a unicorn and a swarm of butterflies. The latter interpreted by students from the National Ballet School, who dance to the music of the Songbird Fairy, while Unicorn, Valerie Quintana, gets an elegant solo.
The Four Princes too get slightly expanded roles, teaming up with Fairy admirers. An additional comic role, Babette, Aurora’s cousin was played extravagantly by Linda Haakana. It was enjoyed by many but added little to the plot.
Carabosse has both a female and a male aspect in Francesca Loi and Shunsuke Arimizu. These are both strong virtuosic roles relished by the dancers. The Vision Scene has many changes and offers additional opportunities for the men. Frans Valkama as the Golden Deer boldly leaps forward to lead the Prince to his destiny, Eselgroth gets an additional solo, and there are opportunities for his friends in addition to a herd of deer. The sombre Nordic setting of high black cliffs with a silver stream is softened by piles of rose petals which transform into skirts as the dancers rise to fill the stage and create the Prince’s vision.
The final act is sumptuous, (sets by Minna Wallenius and costumes by Erika Turunen). The drapes have parted to reveal Aurora who is awakened by her Prince’s kiss. The tableau revolves to reveal the King and Queen and celebrations are underway in the exquisitely dressed court. Red Riding Hood now has the help of a shotgun wielding granny, the White Cat has two tom cats fighting over her – which she successfully dispatches.
The Bluebird duet is trimmed, but Thomas Brun as Bluebird gets a coda series of well executed entrechat six while Syrene, a strong presence throughout gets another brief solo in the run-up to the Grand Pas de Deux. It brings the ballet to a joyful climax and while this version might not please purists, it is welcoming an army of young ballet fans to the theatre.
Maggie's accommodation was paid for by Finnish National Ballet
