China National Ballet Liaoning Herzliya, January 21.

January 23, 2017 20:07
1 minute read.

‘LE CORSAIRE'. (photo credit: ZHANG XUNCHAO)


Dear Reader,
As you can imagine, more people are reading The Jerusalem Post than ever before. Nevertheless, traditional business models are no longer sustainable and high-quality publications, like ours, are being forced to look for new ways to keep going. Unlike many other news organizations, we have not put up a paywall. We want to keep our journalism open and accessible and be able to keep providing you with news and analyses from the frontlines of Israel, the Middle East and the Jewish World.

As one of our loyal readers, we ask you to be our partner.

For $5 a month you will receive access to the following:

  • A user uxperience almost completely free of ads
  • Access to our Premium Section and our monthly magazine to learn Hebrew, Ivrit
  • Content from the award-winning Jerusalem Repor
  • A brand new ePaper featuring the daily newspaper as it appears in print in Israel

Help us grow and continue telling Israel’s story to the world.

Thank you,

Ronit Hasin-Hochman, CEO, Jerusalem Post Group
Yaakov Katz, Editor-in-Chief

UPGRADE YOUR JPOST EXPERIENCE FOR 5$ PER MONTH Show me later Don't show it again

The China National Ballet of the northern province of Liaoning, with about 30 dancers, tried to fit on Herzliya’s medium-size stage, at a cost.

The quaint mid-nineteenth century story ballet Le Corsaire, based loosely on a poem by Lord Byron, never won the popularity of Swan Lake or the Nutcracker – for a reason. The music lack the appeal of Tchaikovsky’s ballets, the story is even more ludicrous than that of most ballets and choreographically though it went through endless renditions, its dramatic core remained too loose.

Be the first to know - Join our Facebook page.

It is a story of a wrecked pirate ship whose surviving seamen were saved by a group of maidens, headed by Medora and Gulanda. Medora and chief pirate Conrad fall in love and find that their enemies are Turkish soldiers, exotic slave mongers, greedy merchants and a rich Pasha trying to get new stock for his harem. The girls are kidnapped, saved by pirates, kidnapped, saved again and so forth.

Each scene requires change of costumes, involving Persian robes, belly dancer outfits and Arabian kaftans, interlaced with tutus and pointe shoes. Someone recited the upcoming content before each scene, presuming the local audience would miss the turns and twists of this simplistic plot. A disturbing and redundant practice.

In the end, any classical ballet production succeeds or fails not on its set or costumes, but foremost on the quality of the dancing; technique, its finesse and the artistic achievement in its execution.

This particular rendition was tailored to suit the capabilities of the dancers. Some of the expected virtuoso feats were toned down while several group arrangements were too basic and lacked glamour. On the other hand, there were good moments by dancers in the roles of Medora, Gulnera and Ali, the slave boy. Conrad the pirate was charming and all the young female dancers won the audience over with their hearty smiles.

Related Content

March against surrogacy law on Ayalon Highway, Tel Aviv, July 22, 2018.
July 22, 2018
Hundreds demonstrate for LGBT rights in Jerusalem, Tel Aviv and Haifa