Lecture Series on Appreciating Ballet — Best Loved Pas de Deux【Programme Cancelled】

【Programme Cancellation and Ticket Refund Arrangements】

Lecture Series on Appreciating Ballet — Best Loved Pas de Deux originally scheduled for 23 and 30 July, 6, 13, 20 and 27 August, and 3, 10, 17 and 24 September 2020 at AC1 on 4/F of Administration Building, Hong Kong Cultural Centre is cancelled.  Ticket holders please keep the original tickets intact (with stubs) for refund.   

Ticket holders of lectures in July and August can request for cash refund at the box office of Hong Kong Cultural Centre upon production of original tickets intact (with stubs) from 23 September (Wednesday) to 17 November (Tuesday) (both dates inclusive)*.  Late requests will not be accepted.  In accordance with URBTIX’s terms and conditions of purchase, all handling, mailing and courier services charges (if any) collected for ticket purchase via internet, mobile app and telephone bookings are non-refundable.  Please see the details here.

Ticket holders of lectures in September can request for cash refund at the box office of Hong Kong Cultural Centre upon production of original tickets intact (with stubs) from 21 October (Wednesday) to 15 December (Tuesday) (both dates inclusive)*.  Late requests will not be accepted.  In accordance with URBTIX’s terms and conditions of purchase, all handling, mailing and courier services charges (if any) collected for ticket purchase via internet, mobile app and telephone bookings are non-refundable.  Please see the details here.

*Opening hours of box office:

Sunday – Thursday (from 10am - 6:30pm daily or 30 minutes after commencement of URBTIX performance at the venue).

Friday – Saturday (from 10am - 8pm daily or 30 minutes after commencement of URBTIX performance at the venue).

 

(Conducted in Cantonese)

The finale pas de deux that appears at the end of traditional classical ballets featuring the two main characters is a showcase of the principal dancers’ bravura skills and stage charisma.

Contemporary choreographers have been exploring modernistic ways of presentation and use of music that are close to the hearts of audience today.  This has taken the pas de deux to a new level, and offers the audience multiple cut-in points for individual free associations evoked by the dancing duos’ sensuousness.

The theme of the present Lecture Series on Appreciating Ballet is ‘Best Loved Pas de Deux’.  Signature pas de deux performed by lead male and female dancers in over twenty full-length ballets and dance works in the history of the genre will be selected for appreciation.  There will also be screenings of renowned modern choreographers’ one-act pas de deux works.

 

July 23 - Swan Lake / The Nutcracker 

In Act II of Swan Lake, Princess Odette the White Swan meets Prince Siegfried for the first time by the lake.  On discovering that Odette is under the Evil Sorcerer’s spell and can only revert to human form at night, Siegfried vows to love her forever.  In Act III, the Evil Sorcerer and Odile the Black Swan arrive at the ball in the palace.  Mistaking Odile for his beloved Odette, Siegfried publicly chooses the Black Swan as his betrothed and dances with her.  Siegfried only realises he has been tricked by the Evil Sorcerer when the dance with Odile ends. 

In his modern take on Swan Lake, Jean-Christophe Maillot’s LAC is highly creative in the styling of roles, choreography or costume design of Siegfried’s pas de deux with Odette and Odile.

In Act I of The Nutcracker, the Nutcracker dances with Clara after he defeats the Mouse King.  Then, they happily enter the Kingdom of Sweets.  The Grand Pas de Deux in Act II between the Sugar Plum Fairy and the Prince showcases the very essence of classical ballet.   

Video clips: Mariinsky Ballet, Bolshoi Ballet, the Royal Ballet, Les Ballets de Monte-Carlo and New York City Ballet

 

July 30 - Tchaikovsky Pas de Deux / After the Rain Pas de Deux / Rubies — from Jewels / The Flames of Paris 

George Balanchine chose Tchaikovsky’s score to choreograph the Tchaikovsky Pas de Deux, a virtuoso and vibrant duet that allows both the danseur and ballerina to display their ballet bravura and ebullient energy.

Christopher Wheeldon’s After the Rain Pas de Deux is a plotless dance of graceful flowing movement, creating beautiful imagery that resonates beyond words.

Set to the music of Igor Stravinsky, George Balanchine’s pas de deux from Rubies highlights the sometimes witty and sometimes mischievous interaction between the two lead dancers, clearly embodying a sense of modernity. 

Act II of The Flames of Paris marks the coming together of the Republic by the masses after the victory of the Marseillais revolutionaries.  Jeanne and Philippe look forward to a happy life together after their marriage.  Filled with excitement, they perform a duet of hope and anticipation.

Video clips: Paris Opera Ballet, Mikhailovsky Ballet, New York City Ballet, San Francisco Ballet, Bolshoi Ballet, etc.

 

August 6 - The Sleeping Beauty / Giselle 

In Act III of The Sleeping Beauty, the airy, delicate and agile moves of the Bluebird Pas de Deux emphasise the respective virtuosity of both dancers, while Princess Aurora and the Prince’s gorgeous Wedding Pas de Deux is a study in aristocratic elegance and splendour.

In Act II of Giselle, Albrecht is exhausted from the ceaseless dancing ordered by Myrtha, the Queen of the Wilis, and falls to the ground.  To prevent her beloved from dying of exhaustion, Giselle continues dancing on Albrecht’s behalf.  Playing for time, the pair dances alternately until dawn when the Wilis retreat to their graves and Albrecht finally escapes death.

Video clips: The Royal Ballet, Staatsballett Berlin, Teatro alla Scala Ballet, Mariinsky Ballet and Bolshoi Ballet

 

August 13 - Afternoon of a Faun / Winter Dreams / Spartacus / Diamonds — from Jewels 

Set to the dreamy music of Claude Debussy, Jerome Robbins’ Afternoon of a Faun depicts a fleeting encounter between a young man and woman in a rehearsal studio.  The American choreographer provides a euphemistic yet romantic interpretation of the couple’s reverie.

Winter Dreams, Kenneth MacMillan’s one-act ballet, is inspired by Anton Chekhov’s play Three Sisters.  The ballet portrays the intricate and conflicting emotional relationships of the main characters in the play, in particular the doomed love of Colonel Vershinin for Masha, the already married middle sister.  Despite knowing that their liaison is impossible, Vershinin bids Masha farewell before leaving for the front, and confesses his feelings.  Their Farewell Pas de Deux is filled with poignant touches and helplessness, entwined in a deep sense of regret.  

In Act III of Spartacus, Phrygia is distressed that her husband may come to harm in leading the rebellion against the Roman legions, while Spartacus comforts his wife.  They support one another to overcome the trying moment together.  

Choreographed by George Balanchine, the pas de deux in the Diamonds finale amply demonstrates the magnificent and regal style of imperialistic Russian ballet.  The gracefulness in the dancers’ aligned arms and measured steps, and their elegant postures, are reflective of a stately classical temperament.

Video clips: Paris Opera Ballet, Bolshoi Ballet, Mariinsky Ballet, the Royal Ballet and Mikhailovsky Ballet

 

August 20 - Coppélia / La Fille mal gardée 

In Coppélia, Swanilda gets jealous when she sees her sweetheart Franz flirting with Coppélia, and resorts to shaking a wheat stalk to divine whether the relationship between her and Franz can go on.  Later, upon discovering that Coppélia is actually a human-like puppet, the couple reunites and gets married.  The two pas de deux are dissimilar in style: the first is rather modest and natural while the second, being the Wedding Pas de Deux, is festive and joyous.

In Frederick Ashton’s version of La Fille mal gardée, the Pas de ruban in Act I is warm and down-to-earth, epitomising the sincerity and simplicity of the young peasant couple’s affection, whereas the closing pas de deux embodies the joy of their harmonious union.

Video clips: The Royal Ballet and Bolshoi Ballet

 

August 27 - Onegin / The Taming of the Shrew 

In Onegin, the female protagonist Tatiana admires the sophisticated and arrogant Onegin.  In Tatiana’s dream, Onegin comes to meet her whereupon they dance with passion as she is unable to hide her feelings for him.  In reality, Onegin rudely spurns her.

Many years later, Onegin again meets Tatiana who has since married another.  Realising he actually loves Tatiana, Onegin begs her forgiveness and wants to rekindle their relationship.  The pas de deux that concludes the final act takes the ballet to a climax.  Recalling the past, Tatiana struggles with emotional upheavals and suffers deep anguish, but finally chooses to forgo Onegin’s attentions.

Both Jean-Christophe Maillot’s new version of The Taming of the Shrew and the one choreographed by John Cranko have successfully characterised the roles of the male and female protagonists.  The pas de deux in the different scenes trace the change in the couple’s relationship, from initially being at loggerheads to gradually feeling each other’s affection.  From that point on, the wife is no longer irascible and quarrelsome, and the husband does not need to overbearingly subdue her.  Instead, they treat one another with true love in mutual understanding. 

Video clips: The National Ballet of China, Stuttgart Ballet, Les Ballets de Monte-Carlo and Bolshoi Ballet

 

September 3 - In the Night / Boléro / Le Grand Pas de Deux / Carmen

In the Night presents pas de deux for three different couples choreographed by Jerome Robbins, set to three of Frédéric Chopin’s romantic nocturnes for the piano.  Expressing distinct moods, the delicate rhythmic movement of each couple tugs affectionately at the audience’s heartstrings. 

Roland Petit choreographed Boléro to Maurice Ravel’s composition of the same name.  The striking aura of the two dancers in contemporary costumes, and their strong and confident postures and movements all highlight a combative tension between the genders.

German choreographer Christian Spuck presented Le Grand Pas de Deux by inserting exaggerated and parodic moves and gestures from famous classical ballet scenes.  The performance of the traditional grand pas de deux is ingeniously re-invented into a hilarious and humorous visual comedy. 

The pas de deux of Carmen and Don José in different scenes in Roland Petit’s one-act ballet Carmen, are both vividly characterised and dramatic.

Video clips: Paris Opera Ballet, Mariinsky Ballet, Stuttgart Ballet, etc.

 

September 10 - A Midsummer Night’s Dream / The Dream / The Little Mermaid

Both George Balanchine’s A Midsummer Night’s Dream and Frederick Ashton’s The Dream are adapted from the same Shakespeare play.  The pas de deux in the forest between Titania, Queen of the Fairies, and Bottom, the donkey-headed man is a scene common to the two ballets.  Titania is under a spell from the juice of a magical flower which makes her fall in love and dance with Bottom, the first man she sees when she wakes.  Before the curtain falls, the squabbling Fairy King and Queen make up, and perform an exquisitely moving pas de deux with elegance and affection.  

In Act I of John Neumeier’s The Little Mermaid, the Prince accidentally falls into the sea.  Fortunately, the Little Mermaid saves him from drowning.  The interactive pas de deux that follows in the water is infinitely creative and conspicuously reveals the true love of the Little Mermaid for the Prince.

Video clips: The Hamburg Ballet, San Francisco Ballet, Teatro alla Scala Ballet, the Royal Ballet and American Ballet Theatre

 

September 17 - Spring and Fall / Sylvia / Beethoven Project / What Love Tells Me — from Third Symphony of Gustav Mahler

These four ballets provide extra insights into John Neumeier’s creative styles at various stages of his career.  Whether the pas de deux is excerpted from full-length works with a storyline, like Sylvia, or are non-narrative episodes choreographed to the music of several composers and taken from large productions, the selected duets all include deeply evocative imagery and settings.  

Video clips: Paris Opera Ballet and the Hamburg Ballet

 

September 24 - Hobson’s Choice / Manon

Several pas de deux are featured in David Bintley’s Hobson’s Choice.  The choreographed dynamics characterize the varying personalities of the three daughters of the shoe shop owner and their husbands, at times assertive and energetic, at others clumsy and comical.  Ignoring her father’s objections, the eldest daughter Maggie marries Will, one of the workers in her father’s shop.  Their duets are vivid depictions of their courtship, the development of an intimate relationship and their marriage.

Manon meets Des Grieux and elopes with him, but she also craves for riches.  So, she yields to the advances of a wealthy man and abandons her sweetheart.  Manon is eventually imprisoned and deported.  In the end, after much torture and humiliation, Manon tragically bids Des Grieux a dying farewell.  The various pas de deux between Manon and Des Grieux choreographed by Kenneth MacMillan are deeply touching.  

Video clips: Birmingham Royal Ballet, Paris Opera Ballet and the Royal Ballet

 

(Free Seating)

Each lecture lasts for approximately 2 hours without intermission.

The speaker reserves the right to change the content(s) selected for screening.

Margaret Lau

    

This lecture series is conducted by Margaret Lau, a seasoned freelance writer on the subject of ballet.  Lau has been the speaker of the Lecture Series on Appreciating Ballet presented by the Leisure and Cultural Services Department since 2009.  Some of her publications are: Twinkle Twinkle Dance Stars, Chinese Ballet Sketches and Chinese Dancers in Hong Kong, China and Taiwan.  Lau’s passion for ballet has taken her to cities around the world to attend and cover dance performances.  Her experience and knowledge promise to enhance the general audience’s understanding of ballet and add more fun to attending dance performances.

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The programme does not represent the views of the Leisure and Cultural Services Department.
The presenter reserves the right to change the programme and substitute speaker.