Phantom of the Opera. Courtesy of Renzulli Photography. Used with permission.
Opera. Courtesy of Renzulli Photography. Used with permission.
What sets Indiana Ballet Conservatory apart is how it showcases its students in its productions. Friday, I witnessed that distinction while experiencing The Phantom of the Opera, a ballet version created by IBC Artistic Director and founder Alyona Yakovleva. I consider this work to be her masterpiece. I reviewed last year’s piece and acknowledged it favorably. Knowing what to expect, I was nevertheless still impressed this year with its dramatic impact and pure artistry of both the choreography and the dancers themselves.
Brilliantly arranged, choreographed, and directed by Yakovleva — her adaptation of the 1910 novel by Gaston Leroux was truly inspired. In Yakovleva’s version, the beauteous heroine, Christine, is a ballet dancer as opposed to an opera singer, who is the object of obsession for a mysterious, disfigured figure who lives beneath the Paris Opera House. In this treatment, the focus is placed on the love triangle between Christine’s suitor Raoul and the possessive Phantom.
Opera. courtesy of Renzulli Photography. Used with permission.
Reprising the roles they performed last year were two IBC alums and a current student. Dancing the role of Christine, in a breathtaking performance, was Morgan Rust, who was a principal dancer with Boulder Ballet and is soon heading to the Finnish National Ballet. Striking in stage presence and musicality was Justin Hamilton as the brooding Phantom, who has been training with the junior company of the Joffrey Ballet and attending Indiana University Ballet Theatre. Next fall. Once again, Luke Derkson displayed superior talent in his soulful portrayal of Raoul.
Imposing, indeed, was the discipline reflected in scenes, as Diveristissement, Phantom’s Thoughts and Candles, all of which featured a large corps of IBC student dancers. Under Yakovleva’s tutelage, their execution was simply superb as they performed her dynamic choreography, which was a fusion of classical and contemporary ballet. Enhancing the heightened artistic quality of Yakovleva’s stunning creation was her choice of music, which included Chopin, Piazzolla, and Fortuna Imperatrix Mundi from Carmina Burana.
As in past productions mounted by IBC, what captivated me most about Phantom was how it featured its student body, which was represented by 110 talented students, aged 4 to 24, who participated. I couldn’t help but appreciate the notion that these budding artists represent the future of ballet. Through the training of organizations like the exemplary Indiana Ballet Conservatory, the art form will not only survive but flourish as well.
