After many years of performing Rudolf Nureyev’s Nutcracker, a darker take on E.T.A. Hoffman’s tale, artistic director Julio Bocca has brought a fun, fresh and festive production of the Christmas classic by choreographer Silvia Bazilis, into Ballet Teatro Colón’s repertoire (its fifth production). It closes his first season with a bang and 13 sold out performances at the Argentinian Opera House.
Premiered by Uruguay’s Sodre in 2011 when Bocca was its director, this two-act, shorter El Cascanueces (The Nutcracker) was revamped with new resources and costumes by Argentinian fashion icon Gino Bogani.
A visually delightful set which opens the first act is not upstaged by the grandiosity of the opera house itself. Designer Gastón Joubert has created a Christmas atmosphere of sumptuous painted backdrops (his speciality) in a symphony of reds, greens and pastels, drapery, bows and berries, the growing tree at the centre of the Stahlbaums’ party, dreamy winter woods and a surprising snowfall over the stalls in the auditorium.
The ensemble was fully engaged in the acting and dancing as were the enthusiastic students from the school. An original introduction of puppetry work brought to the party by the uncle and magician Drosselmeyer, entertains everyone on and off stage. I would have loved to see more gravitas in Antonio Lupi’s interpretation of the character since the role is so central to the story. All the toys and puppets appear from a huge box, including the lovely Harlequin (Valentin Fresno) and Doll (Noel Rodilla), a feisty gipsy trio and a pirate, to inspire the children to role play.
Bazilis’ vision of ‘a story seen through children’s eyes’, clearly targets families. The former and much-loved principal with the company challenges the corps with choreography of quick, precise steps ‘à la Balanchine’, well tackled by the dancers, though musicality was at times in need of attention. The Buenos Aires Philharmonic Orchestra under the baton of Diego Censabella gave an excellent rendition of the majestic Tchaikovsky score.
Bazilis has followed some of Ivan Vsévolozhsky and Marius Petipa’s libretto, in which Clara – a long lined and supple Rocío Agüero – becomes fond of a Nutcracker doll she is given, but her brother manages to break, leaving her upset. The elements of the party then become an oneiric fantasy when she falls asleep.
An army of mice left the box one by one joined by soldiers led by the Nutcracker to fight a humorous battle. The Nutcracker emerged as the prince performed by a strong and technically polished Lucas Erni, guesting from Ballett am Rhein.
Agüero and Erni complement each other well artistically. Their first pas de deux projected admiration more than romance, to keep the childlike perception. High extensions, detailed steps for her; solidity, power jumps, well finished pirouettes for him, distinguished them throughout the evening.
Drosselmeyer took Clara and the prince in a walnut sledge to the Kingdom of the Snow, where snowflakes in tutus and sparkling head pieces danced in dramatic concentric circles, accompanied by the voices of the Colón’s children’s choir from the side balconies.
The second act, set in the Kingdom of Sweets saw each divertissement preceded by puppets: a bull before a lively Spanish dance (Milagros Niveyro and Facundo Luqui) representing chocolate; an articulated dragon comprising 4 people, announced a Chinese trio (tea), a giant Sheikh brought a beautifully executed Arabian dance (coffee) with an exceptional Elena Duarte, partnered by Antonio Leborans. Surprisingly, the Sugar Plum Fairy, has less relevance here compared to other versions.
Clara, not in tutu but in a tunic, and the Prince dance the Grand Pas de Deux; different, but no less attractive nor any easier than usual. Agüero and Erni showed crisp technique in their solos and superlative virtuosity in their exhilarating and well received coda, which unravelled towards the end when Clara woke up. Put it in your diaries for next year.
El Cascanueces is on until 28 December 2025 and will return December 2026
