Music and Dance Reviews : New Principals in Canadian ‘Onegin’

The National Ballet of Canada reserved a quartet of principals not seen together in Pasadena or San Diego for the Saturday matinee performance of John Cranko’s “Onegin” at the Orange County Performing Arts Center in Costa Mesa.

The four dancers were technically strong, secure, well-schooled and in some cases admirable. Yet the result was a disappointing, low-voltage interpretation. In other roles, the matchings may have struck more fire.

Gizella Witkowsky, a fine and worthy dancer, seemed to be damping down her natural authority in the early acts to portray the unsophisticated Tatiana. The result was that she seemed locked up, remote, as if in another world, though there were also moments of touching self-consciousness. Even in the later mirror pas de deux, she stopped just short of a wonted, impetuous yielding and abandon.

Witkowsky came into her own in the last act, where her unfettered assurance and poise properly fit into the glamorous social setting and where she could focus her strength, freedom and amplitude of line on a final, noble self-sacrifice.

She was strongly partnered by the youthful and handsome Serge Lavoie, elegant in line, buoyant in elevation, but unfortunately vacant as Onegin, exhibiting no world-weariness or cynicism or boredom with city, self or life.

Indeed, at times Lavoie even allowed himself incongruously to appear happy and genial, seeming to have no idea of the darker aspects of the character.

Not surprisingly, there was little spark or magnetism between the two, though they danced with first-rate clarity and security. Much was there, except the wanted persuasive romantic ardor.

Alongside an appealing sweetness, Martine Lamy, as Olga, displayed an almost self-satisfied flirtatious streak, which contributed its fair share to the quarrel between Lensky and Onegin. In movement, she was light and fluent.

As Lensky, Owen Montague was tender, committed, idealistic and bitterly, unforgivingly deflated by Olga’s behavior. He was somewhat effortful as a partner, but became virtuosic in solo turns and forceful and springy in elevation.

Daniel Nelson, who danced Prince Gremin, was previously reviewed. Barry Wordsworth again conducted.