What would you give for love? The grand ballet “Raymonda,” reimagined by Tamara Rojo from its classic form into a more brisk and modern beast, centers the titular character within that question as she must choose between two men and her own ambitions.
Rojo’s new vision, making its U.S. premiere with the San Francisco Ballet, sets the action during the Crimean War of 1854. John, a soldier in the Light Brigade, and Abdur, an Ottoman prince, vie for the affection of Raymonda, a noblewoman who seeks more than comfort as she chases her dreams to make a real difference.
With so many pieces in play, this towering work, defined by its sweeping grandeur and larger-than-life narrative, could so easily become disorienting with its many flags and narrative threads all intertwined. However, Rojo’s direction is economic without forgoing the opulence inherent to the piece.
With a clear and crisp sense of staging and design, Rojo takes the ever-changing chess board of Lydia Pashkova’s original libretto with Alexander Glazunov’s score and creates something new and refreshing.
A sweeping sense of grandeur remains intact, with extravagant costuming and Glazunov’s boisterous and rousing score to boot, but Rojo’s streamlining of a story that could easily become convoluted is her crowning achievement of this production. Similarly, the set design of the production is so sleek and minimal, leaving no question in one’s mind what the star of the show is: the ensemble.
The company works wonders onstage, and Rojo knows to highlight its strengths. Raymonda, performed by various members of the company throughout the weeklong run, is a demanding and grueling part to take on. Opening night’s Raymonda, Sasha De Sola, was astounding. Her every turn and glance was a marvel in and of itself while her stage presence is just as captivating.
John and Abdur are such distinct presences in the show and their quarrels over Raymonda are brilliantly conveyed through their unique styles. John’s dance is cleaner and sharper, that of a soldier whose routine must be tip-top. Abdur’s dance is more brash, defiant, loud and exclamatory with the bravura of a one-track-minded prince.
That level of detail in the show extends to the set design and costuming, both extravagant while never distracting. The ensemble’s looks are all pristine and textured, so detailed even from a distance. Distinct looks for every character help an audience track the action of the narrative beyond the athletic feats.
The set design is accentuated with sparse wood paneling that serves as a malleable frame for the setting to occupy from act to act. Early in Act I, while flags fly in the wind representing empires in chaos, the Union Jack hangs still over the scenery made from some plaster as if the British were frozen in time, unable to accept the changing winds.
What Rojo achieves with “Raymonda” is undeniable. Shows so enthralling or filled with such resplendence as this don’t come along too often, so make the most of it while you can. SF Ballet’s “Raymonda” will be performed at the War Memorial Opera House until March 8.
