Mary Ellen Hunt
May. 12,
2002
Ballerina goes out grandly with 'Giselle'
By Mary Ellen Hunt
TIMES CORRESPONDENT
San Francisco Ballet gave one of its most beloved ballerinas, Joanna Berman, an emotional farewell Saturday night at the War Memorial Opera House with their penultimate performance of the great Romantic ballet "Giselle."
It was less a sad occasion than a joyous celebration of a dancer at the height of her powers, where perhaps the most touching aspect of the evening was not Berman's own incandescent portrayal of the title role, but the way her fellow company members paid homage to her with their own dancing.
Berman is what is often called a "dancer's dancer." She has many qualities for which audience members love her, but dancers in particular respect her work and watch her closely, almost obsessively, for her immaculate technique, an intelligent approach to artistry and her generosity onstage. All along, Berman's final season with the San Francisco Ballet has inspired eloquent and unsuspected performances from the entire company.
She, too, has discovered the freedom of not worrying about whom she satisfies, so in dancing for herself, she has danced for everyone's pleasure. She's brought a radiant assurance to the stage. Those lucky enough to have seen her in previous seasons as Aurora in "The Sleeping Beauty" or as Odette in "Swan Lake" will remember Berman's extraordinary ability to pull the company out of a sluggish performance into brilliance by the sheer force of personality -- and she has never less than graciously shared her accomplishments with everyone, from her partners down to the corps.
From her first entrance, Berman's sunny Giselle found a beautiful match in Yuri Possokhov as Albrecht, the man who toys with her affections, precipitating her tragic death. Passionate, yet still noble, Possokhov stabilized Berman's rare moments of unsteadiness and partnered her expertly and with great humility. Together they offered even more satisfaction than each one could have separately, believably creating a world of bygone romanticism.
The duo's efforts translated to the rest of the company. The corps of peasants was more animated, Giselle's friends had a bit more bounce and the Peasant Pas de Cinq, while not strictly in the Romantic style, had a pleasant brightness, largely due to Kristin Long and Gonzalo Garcia. Sergio Torrado danced well, stepping in at the last moment for Guennadi Nedviguine, while Vanessa Zahorian and Elizabeth Miner were agreeable, if not perfectly in sync. However, Garcia's easy, spectacular jumps and Long's natural vivacity gave the difficult choreography just the right kind of robust youthfulness and brio.
Damian Smith used his considerable dramatic gifts to turn the thankless role of Hilarion into a comprehensible character, motivated more by his unrequited love for Giselle than jealousy. As Myrtha, Muriel Maffre also brought sympathy to the queen of the ghostly wilis, finding a fine balance between the Romantic softness of the ballet's style and the marble-like coldness of her character.
The culmination of the ballet however, was the extended second act pas de deux for Giselle and Albrecht. Berman has given more perfect performances, as has Possokhov; and yet, with its fragility and vulnerability, this "Giselle" was exquisite in its own way, demonstrating the fullness of their artistry and their ability to make us care deeply.
In the end, the appreciative audience members could scarcely wait to leap to their feet to give Berman a thunderous standing ovation. The applause continued as the ballerina was pelted with flowers and received more bouquets from each of the male principals and soloists of the company in succession. Many of them went to one knee before her; Stephen Legate went to both and bowed in awe of her. Cyril Pierre dipped her backwards in an embrace, and Smith, after a quick whispered suggestion, whirled her through three finger turns that whipped into another five pirouettes, epitomizing the giddiness and informality of the tribute. As the whole company joined Berman onstage, confetti and balloons rained down from above. Berman not only accepted the accolade, but with the grace and modesty that has marked her career, thanked audience and dancers alike.
This review initially appeared on May 12, 2002 in the Contra Costa Times.
For questions or comments, please contact maryellenhunt@yahoo.com.