Arts Vanity: Anastasia’s Guide to Ballet — Oscars Edition?

I know that none of these categories are actually part of the Oscars, but honestly trying to force any ballet into the Best Picture category proved to be quite difficult (shocker). So instead, here is my very opinionated take on ballets that deserve awards and recognition, and why these choices are absolutely correct.

Most Gorgeous Score: Glazunov’s ‘Raymonda’

Writing this segment gave me an excuse to relisten to the score and be reminded of just how rich and expansive it was. From the overture alone, Glazunov establishes the world the ballet is set in — regal, yet full of turbulent emotion, longing, and love. My favorite moment from this ballet will always be the young countess Raymonda and her fiance Jean de Brienne’s pas de deux before he departs on his quest, a passage filled with melancholy, tenderness and love. In Act 3, Glazunov does an exceptional job of subtly incorporating Hungarian folk rhythms into the final pas de deux and coda. In my opinion, “Raymonda” is a very underrated ballet. While it is performed frequently across Europe, it’s a shame it isn’t performed in the United States as often.

Most Iconic Role: Odette/Odile

The most iconic role in classical ballet of course comes from one of the most well-known ballets: “Swan Lake.” The role of Odette/Odile is a role many ballerinas strive for. Not only is it one of the most technically demanding full-length roles in any ballerina’s repertoire, but it is also requires the dancer to embody two completely different characters. Odette, the white swan, is a frightened young woman bound by a curse that can only be broken by a promise of true love. On the other hand, Odile, the black swan, is an illusion conjured by a sorcerer to seduce the Prince and deceive him. It’s draining, but such a rewarding role. The cultural impact of the role was further amplified by Darren Aronofsky’s movie “Black Swan,” starring Natalie Portman ’03, which cemented the role of Odile in popular culture.

Most Devastating Ending: John Cranko’s ‘Onegin’

Many ballets end in tragedy, but few ballets leave the audience emotionally wrecked like John Cranko’s “Onegin,” based on Alexander Pushkin’s novel in verse “Eugene Onegin.” The ballet concludes with Tatiana’s confrontation with Onegin in a heart-wrenching pas de deux, where she wrestles not only with Onegin, but with her desires and sense of duty to her husband. The pas de deux culminates in a brutal mime sequence where Tatiana rips Onegin’s love letter and forces it into his hands, as she commands him to leave her alone. Yet, in the final moments as Onegin runs off weeping, Tatiana breaks, reaching to call for him only to realize it is too late. She then faces the audience, tears streaming down, fists clenched as the curtains descend, embodying the devastating cost to her for choosing honor over true love.

Best Pas De Deux: George Balanchine’s Tchaikovsky Pas De Deux

Balanchine’s Tchaikovsky Pas De Deux earns its rightful place in these rankings as a staple for every gala performance, and for good reason. The pas de deux combines classical bravura with emotional warmth while being set to Tchaikovsky’s beautiful score. Originally, the music to the pas de deux was meant to be a part of Tchaikovsky’s full score of his ballet “Swan Lake,” but it was later cut. The music was later rediscovered by George Balanchine, who choreographed pieces that showcased technical virtuosity but also a deeply musical and elegant nature.

Most Underrated Ballet: “The Firebird”

“The Firebird” deserves far more recognition than it receives. Not only is it an essential part of ballet history, but it’s also a brilliant early modernist experimentation, both musically and choreographically. First performed by Sergei Diaghlev’s Ballet Russes in 1910 in Paris, Michel Fokine’s “The Firebird” marks the rise of neoclassical ballet in the 20th century. Stravinsky’s score is playful and mystical, as well as vividly evocative in bringing the fairytale of the magical firebird to life. While the one-act ballet doesn’t capture the full story of Ivan’s quest with his magical talking wolf, it does succeed in capturing the beauty and danger of the burning bird.

—Incoming Campus Executive Anastasia Poliakova is currently reliving her ballet dreams and aspirations watching Boston Ballet’s “Nutcracker,” but when she’s not lost in the clouds she can occasionally be reached at [email protected]. Come watch her at Harvard Ballet Company’s show “Interlude” next semester (yes this is a plug and yes please do come).