The Conclusion of La Esmeralda

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Esmeralda & Quasimodo, La Esmeralda, Kremlin Ballet Company, Moscow picture image

Esmeralda & Quasimodo, La Esmeralda, Kremlin Ballet Company, Moscow

After seeing a lot of version that felt like no effort was put into them it was refreshing to see that this ballet version tried to create an all round good HUnchback adaption. It told a version of the story that fit limits of a ballet but also catered to the advantage the medium can provide. Was this a perfect version? No, it did make some weird decisions with regards to the source material and add-ons, like that greek myth in the second act and have the Pope of Fools also in the second act.

For the most part this Ballet was good which why it’s harder to review. It’s a decent version of the book but even better if you let yourself get lost in the artist of ballet. Also helps if you like/appreciate ballet more than I do.

Like I said, Good Version of Hunchback are harder to review so let’s go for a not so good version.  What version should be next?

Next Version for Review?

  • 1977 (67%, 14 Votes)
  • Dingo version (24%, 5 Votes)
  • Other (Please Says in the Comments) (10%, 2 Votes)

Total Voters: 21

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Poll won’t expire for a while, may not get to the next version till the fall. This summer been hard/busy for me.

Other Aspects to the La Esmeralda

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Sets

Sets of La Esmeralda Kremlin Ballet Company, Moscow picture image

Sets of La Esmeralda Kremlin Ballet Company, Moscow

For the most parts you don’t really notice the sets in this Ballet, mainly because so much of the attention is focused on the dancing, as it should be. If you do happen to  look at the sets you would see they are quite lovely.

The only set that is noticeable  would be  drop cloths that are used as transitions. They usually appear when characters are crossing the stage so there is little dancing taking part. The designs on the cloth is typically maps and   they have a nice cross hatching on them that make them feel like antique book illustrations. The concept of a basic though nicely done dropcloth does seem a little on the amateurish side but it does help set a tone.

The other sets are very well detailed and are more representational opposed to symbolic of Paris and Notre Dame. Meaning it looks like Notre Dame  instead of  columns and a gargoyle like  in Notre Dame de Paris. Neither approach is wrong just a style choice. Also Notre Dame is for most always seen in the distance. Always omnipresent. The realistic sets are also a good counter to the symbolist representation of the story through dance.

 

Lighting

Lighting of La Esmeralda Kremlin Ballet Company, Moscow picture image

Lighting of La Esmeralda Kremlin Ballet Company, Moscow

This is one of the strongest aspects on the show. It always convey the right mood and drama for the scene. The best use of lightening is during Frollo’s meltdown with  dancers bathed in red contrasted in cold blue of Frollo. Also the Pas de deux between Quasimodo and Esmeralda at the end in a wash of blue added to the tragic ending.

 

Music

Conductor of La Esmeralda Kremlin Ballet Company, Moscow picture image

Conductor of La Esmeralda Kremlin Ballet Company, Moscow

Not as crazy about the music. It sounded like it was trying to be the Dance of the Hours even though Ponchielli composed Dance of the Hours in 1876 and Pugni composed La Esmeralda in 1844. I don’t know much about 19th century music but the music didn’t to move me.  It wasn’t bad or incompetent by means. If you like the music that’s great but I do not. I  could just have unrefined tastes in music. 

Costumes of La Esmeralda

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Esmeralda & Quasimodo, La Esmeralda, Kremlin Ballet Company, Moscow picture image

Esmeralda & Quasimodo, La Esmeralda, Kremlin Ballet Company, Moscow

So this pertains to the Kremlin version and not universal to the ballet productions as a whole.  For the most part the costumes in this version were pretty great. They expressed the characters and were made for dancing but I had issues with one costume. Can you guess which one?

 

It’s Esmeralda’s. 

Esmeralda La Esmeralda Kremlin Ballet Company, Moscow picture image

Esmeralda Kremlin Ballet Company, Moscow

I can accept them putting her in red. While I fundamentally disagree with the choice I understand it. Red is a striking color and it stands out on stage. I get that and I can overlook that aspect.

Esmeralda & Phoebus, La Esmeralda Kremlin Ballet Company, Moscow picture image

Esmeralda & Phoebus, La Esmeralda Kremlin Ballet Company, Moscow

On the whole I do not hate this costume. It’s pretty and a nice darkish shade of red. More like Scarlett. The tutu style of Esmeralda’s and all the tutus appears to be the Romantic style. She has little sleeves that almost like flutter sleeves that add nice motions. The asymmetry is nice with embroidered flower on one side of the bodice and balanced out by embroidered flowers on a hip scarf. As well as chain of gold coins. It does read as naive girly gypsy.

Esmeralda La Esmeralda Kremlin Ballet Company, Moscow picture image

Esmeralda Kremlin Ballet Company, Moscow

However there one aspect of this costume I do not agree with and it’s the color of the  under layer of the skirt. It’s black. You can see it most of the time so it’s very noticeable. Why Black? Is it to match her laces?  Because that the only other black on the costume. Is to foreshadow her tragic death?  Is because red and black as classic sith color and Esmeralda is tempted by the dark side? That was joke but that reason makes more sense than any things else. I really don’t understand this choice. Any other color would have been better. Or was it because black was a safe choice with red? I thought it stuck out.

Alexandra Timofeeva as Esmeralda, La Esmeralda Bellet, Kremlin Ballet Company, Moscow picture image

Alexandra Timofeeva as Esmeralda, La Esmeralda Bellet, Kremlin Ballet Company, Moscow

Not to bring up the book but there are few colors Hugo mentions for Emeralda, Gold, White, Blue and Green. Blue wouldn’t  have been a good choice as it’s Fleur de Lys’ color. White might have sticked out too much. Green would have been alright as it would have linked her to her backup dancers. Gold would have matched the cording on her bodice and the coin details so it would have fit into the costume. Pink would also been a good choice as it could have go with the flowers.

Esmeralda & Fleur de Lys, La Esmeralda, Kremlin Ballet Company, Moscow picture image

Esmeralda & Fleur de Lys, La Esmeralda, Kremlin Ballet Company, Moscow

Speaking of the back-up dancers. There costume are near identical to Esmeralda but in green and they had headscarves. The head scarves are red as elements on their costume especially on the bodice. Their underlayer is also black but it does stick out as much.  The layer could have just been for economy and efficiency. This the main titular character  however I don’t think saving and money were an issue for her costume.

Esmeralda & Quasimodo, La Esmeralda, Kremlin Ballet Company, Moscow picture image

Esmeralda & Quasimodo, La Esmeralda, Kremlin Ballet Company, Moscow

I really hated the color of the under layer since its purpose is to  add  grace to her movement but it was an ill-conceived choice to and other well-composed costume.  

The Order of the Story in the Ballet

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Esmeralda & Gringoire, La Esmeralda, Kremlin Ballet Company, Moscow picture image

Esmeralda & Gringoire, La Esmeralda, Kremlin Ballet Company, Moscow

The order of how the story plays outs in La Esmeralda is baffling. It’s near insulting to the original story. Who in their right mind puts a scene that is Quasimodo’s grand introduction halfway through the story? At least that is what I thought at first.

Quasimodo as The Pope of Fools, Kremlin Ballet Company, Moscow picture image

Quasimodo as The Pope of Fools, Kremlin Ballet Company, Moscow

Yes, it’s an odd choice to have key scenes like the kidnap attempt and the Pope of Fool to unfold out of sequence however it’s a ballet so the story can’t follow as rigidly to have the same dramatic flow of the book or movies.  The more I thought about the order of  the scenes as they appear in this Ballet the more I relived that the second act was lacking in context. There was more dramatic performance but they needed to pad out the runtime. This why that Greek myth segment was a major focus in the second act and why I think the Pope of Fools was at the start of second act. I think dramatic flow was the reason behind the switch of Esmeralda’s marriage to Gringoire and the kidnap attempt.   

   

Esmeralda & Phoebus, La Esmeralda Kremlin Ballet Company, Moscow picture image

Esmeralda & Phoebus, La Esmeralda Kremlin Ballet Company, Moscow

Now I could be wrong, I know nothing about Ballets but the strategies for adapting a book into a ballets are different from movies or third-rate kid videos  based on better movies based on depressing French literature from the 1830s. I would say that the switching of the scenes is evident of the adaptation strategies employed by the creator(s) of La Esmeralda. So  while I may disagree with the choice in theory, I understand why they rearranged the story.   

Le Phoebus of La Esmeralda (Esmeralda Ballet)

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Esmeralda & Phoebus, La Esmeralda, Kremlin Ballet Company, Moscow picture image

Esmeralda & Phoebus, La Esmeralda, Kremlin Ballet Company, Moscow

Unlike the other characters we have looked at so far, Phoebus’ depiction is a bit different from the book. In all honesty he isn’t like his book persona but instead he resembles how Phoebus was adapted in the 1956 French movie. I’m willing to bet that the movie took its cues from the ballet, that is if this version of ballet is the same as first ballet from 1844 and not a version of the ballet created after 1956, I have now confused myself.  If I had to guess I would still say this characterization of Phoebus is from the 1844 ballet.

Esmeralda & Phoebus, La Esmeralda Kremlin Ballet Company, Moscow picture image

Esmeralda & Phoebus, La Esmeralda Kremlin Ballet Company, Moscow

So how is this ballet Phoebus like 1956 Phoebus? For starts this Phoebus does seem to genuinely like Esmeralda as evident by the scarf. Though not in either the book or the 1956, Fleur de Lys gives Phoebus a scarf which he give to Esmeralda.When Esmeralda learn of Fleur de Lys, she  sadly tries to give it back to Phoebus and motions for her to keep it.  Basically the scarf is a symbol for  love. One of the real tragedies is that Phoebus goes back to Fleur after Esmeralda is sentenced to death. In the 1956 version it seems like a defeatist move that he couldn’t be with Esmeralda, not sure what his motive is the ballet but it’s probably the same thing.  He can’t be with the one he loves so he settles.

Phoebus & Fleur de Lys, La Esmeralda, Kremlin Ballet Company, Moscow picture image

Phoebus & Fleur de Lys, La Esmeralda, Kremlin Ballet Company, Moscow

There isn’t much more to this Phoebus, he just a dashing romantic knight, they kept it nice and simple.        

Quad Frollo of La Esmeralda (Ballet)

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Frollo and Esmeralda, La Esmeralda, Kremlin Ballet Company, Moscow picture image

Frollo & Esmeralda, La Esmeralda, Kremlin Ballet Company, Moscow

This iteration of Frollo is pretty by the book except for the lack of backstory and alchemy. He doesn’t have a brother but since the ballet doesn’t go in Frollo’s motivates for looking after Quasimodo there is a little point to Jehan as character. Not complaining, never liked Jehan.

Frollo and Esmeralda, La Esmeralda, Kremlin Ballet Company, Moscow picture image

Frollo & Esmeralda, La Esmeralda, Kremlin Ballet Company, Moscow

This Frollo is a priest and hangs out with Quasimodo. This Frollo does all the classic thing you would expect from a fairy straightforward Book, like obsesses over Esmeralda but feel tortured over the lack of control and then gets pulled down into committing terrible action against her and Phoebus.

Frollo, La Esmeralda, Kremlin Ballet Company, Moscow picture image

Frollo, La Esmeralda, Kremlin Ballet Company, Moscow

I’d say it was pretty standard although half the time Frollo is a creepy villain instead of creepy villain who was good yet stern guy who tried but couldn’t beat his own chemical impulses when he saw a really pretty girl. I’m trivializing Frollo’s internal struggles but even with the limitations of a ballet this version does get the point of Frollo across.

El Quasimodo of La Esmeralda (Ballet)

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Quasimodo, Kremlin Ballet Company, Moscow picture image

Quasimodo, Kremlin Ballet Company, Moscow

In the realm of Quasimodo adaptations, this one opts for the sweet pathetic type. There is zero edge to him and that made him boring. Quasimodo in this version exists solely for the purpose of Esmeralda. He like-likes her, saves her and dies for her. While all that exists in the book Quasimodo doesn’t strictly die because of Esmeralda, he also dies because he killed Frollo. Adaptations forget that Quasimodo did love Frollo too and while he did kill Frollo for what he did to Esmeralda, he did so in a fit of rage. Honestly few versions really understand Quasimodo, they just see the pathos of his character but not his mind or half of his characterization.

Quasimodo as The Pope of Fools, Kremlin Ballet Company, Moscow picture image

Quasimodo as The Pope of Fools, Kremlin Ballet Company, Moscow

As it’s stands with this Ballet, Quasimodo doesn’t have a strong attachment to Frollo and there is no backstory. The lack of the backstory is not a huge issue as it’s ballet, it’s forgivable but there is somethings that unforgivable. Quasimodo doesn’t seem to care about Notre Dame, like the cathedral is barely in the ballet. Fleur de Lys’ parlour has more stage time that Notre Dame. That just seems wrong. Also the Pope of Fools part was shoe-horned in middle of the ballet for little reason. It didn’t even makes sense after the whole kidnap attempt scene to have the Pope of Fools. The point of which is to show Frollo’s powers over Quasimodo and the then how the relationship is damaged after Frollo leaves Quasimodo to suffer for his crime. It would have been better not to have the Pope of Fools scene than messing up the order and their relationship dynamic.   

Quasimodo & Frollo, Kremlin Ballet Company, Moscow picture image

Quasimodo & Frollo, Kremlin Ballet Company, Moscow

One could argue that this Esmeralda’s story and messing with the dynamic of Quasimodo and Frollo is inconsequential to the emotional impact for her tragedy but that is misguided. You can’t show Esmeralda’s place in Quasimodo’s heart without the juxtaposition of Frollo or even Notre Dame in Quasimodo’s world.   

Esmeralda & Quasimodo, La Esmeralda, Kremlin Ballet Company, Moscow picture image

Esmeralda & Quasimodo, La Esmeralda, Kremlin Ballet Company, Moscow

Quasimodo in this version just exists for Esmeralda. It’s akin more closely to Disney Quasimodo’s  schoolboy crush but in the guise of a tragic ballet.

The Visual Emotions of Ballet and the Story of Esmeralda

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Esmeralda & Phoebus, La Esmeralda, Kremlin Ballet Company, Moscow picture image

Esmeralda & Phoebus, La Esmeralda, Kremlin Ballet Company, Moscow

Ballets unlike movie have to convey all the story element through only motions and  gestures. This makes ballets more like a silent movie without the intertext panels. For the most La Esmeralda does tell the basic story of The Hunchback of Notre Dame/Notre Dame de Paris however it does have some weird differences that don’t really impact the narrative but should be mentioned.

Esmeralda begging Phoebus o spare Quasimodo, La Esmeralda, Kremlin Ballet Company, Moscow picture image

Esmeralda begging Phoebus o spare Quasimodo, La Esmeralda, Kremlin Ballet Company, Moscow

There is no pillory scene and so Quasimodo is never punished for Frollo’s crimes. He does nearly get arrested and Esmeralda begs for his release. This takes the place of the pillory scene as it’s the kindness of Esmeralda he falls in love with. Is it as impactful? No but it’s gets the job done.

Quasimodo as The Pope of Fools, Kremlin Ballet Company, Moscow picture image

Quasimodo as The Pope of Fools, Kremlin Ballet Company, Moscow

Quasimodo is crowned the Pope of Fools nearly halfway through the performance. Not sure why they bothered moving this scene so late in the show. Would have been better easier as at this point the division of Quasimodo and Frollo have already started and this felt tacked on and unnecessary. Sure it’s a very important scene in the story but to place it after Quasimodo expresses a love and loyalty for someone other than Frollo shows a misunderstanding of the characters.

Frollo and Esmeralda, La Esmeralda, Kremlin Ballet Company, Moscow picture image

Frollo & Esmeralda, La Esmeralda, Kremlin Ballet Company, Moscow

Another weird odd change is the movement of the Red Door scene. I didn’t even recognize it as the Red Door scene, or the scene where Frollo tries to force himself on Esmeralda during her sanctuary in Notre Dame, I thought it was an additional scene for the Ballet and I JUST figured it out was the Red Door scene. It’s a bizarre placement as it occurs right after Frollo tries to abduct Esmeralda and she returns to her  dwelling. Frollo hasn’t even stab Phoebus yet, his torture, lust and lack of self control hasn’t gotten to this point yet.  It comes off like an old cartoon from the 1930’s where the villain chases an innocent maiden around a room till the hero bursts in and Quasimodo does bursts in saves Esmeralda.  Don’t misconstrues this, the choreography is lovely but it shows that the people who originally did this Ballet lack an understanding of the characters, mostly Frollo and Quasimodo.       

Artemis & Apollo(?), Kremlin Ballet Company, Moscow picture image

Artemis & Apollo(?), Kremlin Ballet Company, Moscow

One thing that was really annoying about the ballet is the padding out it does especially with Fleur de Lys’ party scenes. There is one scene where Fleur de Lys is have a performance done  of Artemis and maybe Apollo. I can only guess at Apollo because it would be a clever call back to Phoebus. Performances in performances are intriguing as it makes the audience part of the performance but here it just dragged things on. It could be for a practical purpose of allowing the principal dancers a ten minute breather but again I do not know the ins and outs of ballet. As beautiful as the performance of the myth was it interrupted the flow of the story.  

Esmeralda & Quasimodo, La Esmeralda, Kremlin Ballet Company, Moscow picture image

Esmeralda & Quasimodo, La Esmeralda, Kremlin Ballet Company, Moscow

For most people these changes are not going to impact their overall enjoyment of the ballet as it does capture the emotional impact of the story but the seemingly minor changes does suggest that someone in charge at some point didn’t have a great working knowledge of the finer points of the characters and the story. 

(Note- Not all the ballet version of La Esmeralda depict the story like this.)

The Plot of La Esmeralda

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Or at least as the Kremlin performance depicts it.

Frollo and Esmeralda, La Esmeralda, Kremlin Ballet Company, Moscow picture image

Frollo & Esmeralda, La Esmeralda, Kremlin Ballet Company, Moscow

Pretty much all the major, overall story beats are hit in this version and this an approximation of the plot, it’s possible things are misconstrued . First we have Phoebus and Fleur-de Lys getting engaged. Fleur de Lys gives him a scarf.   The the court of miracle dance along with Gringoire and Esmeralda. Frollo scares her. Quasimodo stops Frollo from scaring her too. Frollo is torment by his lust for the young dancer. Gringoire follows Esmeralda to the Court  of Miracle where he is nearly killed but Esmeralda marries him to save his life. She also rejects his romantic advances.

Esmeralda begging Phoebus o spare Quasimodo, La Esmeralda, Kremlin Ballet Company, Moscow picture image

Esmeralda begging Phoebus o spare Quasimodo, La Esmeralda, Kremlin Ballet Company, Moscow

Frollo and Quasimodo are out roaming the streets when Esmeralda just so happens to be wandering by. Frollo has Quasimodo try to kidnap her but Phoebus and the guard show up. Esmeralda and Phoebus fall in love and he gives her the scarf that Fleur de Lys gave him. As the guards are about to take Quasimodo away, Esmeralda beg mercy for him and Phoebus lets Quasimodo go. Quasimodo then falls in love with Esmeralda.

Esmeralda & Gringoire, La Esmeralda, Kremlin Ballet Company, Moscow picture image

Esmeralda & Gringoire, La Esmeralda, Kremlin Ballet Company, Moscow

Esmeralda return to her dwelling happy about meeting Phoebus. As she trying to fall asleep Gringoire tries again with the romance, I really hope he wasn’t trying to force himself on her. Esmeralda rebuffs and pulls out her dagger. She basically tells him no and if he acts up he’ll be hanged. So friends they shall be, or maybe co-workers.

Frollo and Esmeralda, La Esmeralda, Kremlin Ballet Company, Moscow picture image

Frollo & Esmeralda, La Esmeralda, Kremlin Ballet Company, Moscow

Esmeralda tries to go to sleep but Frollo enters her dwelling. Frollo tries to win her over with forces, not really sure what he was doing but Quasimodo helps Esmeralda escape and Frollo takes her dagger.

Esmeralda & Fleur de Lys, La Esmeralda, Kremlin Ballet Company, Moscow picture image

Esmeralda & Fleur de Lys, La Esmeralda, Kremlin Ballet Company, Moscow

The there is a party at Fleur de Lys’. Esmeralda and Gringoire perform but when Esmeralda sees Phoebus with another woman she became distraught. Fleur de Lys becomes enraged when she sees Esmeralda wearing Phoebus’ scarf.

Esmeralda & Quasimodo, La Esmeralda, Kremlin Ballet Company, Moscow picture image

Esmeralda & Quasimodo, La Esmeralda, Kremlin Ballet Company, Moscow

Then the Feast of Fool happens and Quasimodo is crowned Pope of Fools. Frollo is displeased and Quasimodo is sad. Phoebus and Esmeralda meet in a bar for some romance. Frollo follows them and plays the owner to let him hide in the room where they will be. Before Phoebus and Esmeralda can consummates their love  Frollo bursts in stabs Phoebus. Quasimodo shows up and tries to help but Esmeralda is arrested.

Frollo and Esmeralda, La Esmeralda, Kremlin Ballet Company, Moscow picture image

Frollo & Esmeralda, La Esmeralda, Kremlin Ballet Company, Moscow

Esmeralda is arrested and Frollo tries to get her out but she rejected him. Fleur de Lys i having a party again. Things are going when Phoebus enters and beg Fleur de Lys to forgive him.

Esmeralda & Quasimodo, La Esmeralda, Kremlin Ballet Company, Moscow picture image

Esmeralda & Quasimodo, La Esmeralda, Kremlin Ballet Company, Moscow

Esmeralda is about to executed when Quasimodo saves her. They bond but Frollo bursts in and arrests Esmeralda.  Before Esmeralda is executed Fleur de Lys and Phoebus get married.

Esmeralda & Quasimodo, La Esmeralda, Kremlin Ballet Company, Moscow picture image

Esmeralda & Quasimodo, La Esmeralda, Kremlin Ballet Company, Moscow

Frollo and Quasimodo have a fight and Quasimodo throws Frollo off the cathedral and the scarf falls too. Quasimodo lays down beside Esmeralda to die as the scarf falls on them.

La Esmeralda Ballet Introduction

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Carlotta Grisi and Jules Perrot, La Esmeralda picture image

Carlotta Grisi and Jules Perrot, La Esmeralda

Well break is over, I can’t hold off anymore on not reviewing another Hunchback version. So here we are instead of some stupid annoying dumb knock-off Disney animation waste of time that makes me dumber as I watch it over and over instead we’re going a classy upscale version of Hunchback, a Ballet. Even though if you have seen The Forsythe Saga, Ballets aren’t cliche as opera because it’s young women dancing. I digress in today society Ballet is more an upscale art form and it something I know nothing about. The closest thing I got to a dance class was tap dance and I got run out the class by the mean students and the incompetent teachers.

Let’s just start with some basics. The ballet is called  La Esmeralda  and it’s done in three acts and five scene. It was originally choreographed by Jules Perrot to music by Cesare Pugni, with sets by William Grieve and costumes by Mme. Copère. It was first presented by the Ballet of her Majesty’s Theatre, London on 9 March 1844, with Carlotta Grisi as Esmeralda, Jules Perrot as Gringoire, Arthur Saint-Leon as Phoebus, Adelaide Frassi as Fleur de Lys, and Antoine Louis Coulon as Quasimodo.

Alexandra Timofeeva as Esmeralda, La Esmeralda Bellet, Kremlin Ballet Company, Moscow picture image

Alexandra Timofeeva as Esmeralda, La Esmeralda Bellet, Kremlin Ballet Company, Moscow

The first time it was performed in America was in New Jersey in 2004. Most Western ballet companies only perform two Esmeralda-related pieces—La Esmeralda pas de deux and La Esmeralda pas de six—and the Diane and Actéon Pas de Deux, which is actually not excerpted from the ballet, but often mistakenly credited as having been added by Marius Petipa to his 1886 revival of La Esmeralda. So it’s not a very common ballet to American but you do seem the part performed for like ballet competition. It’s a good allegory of Hunchback a piece work that is superficially  known by the general public but the story isn’t understood.

 

The version we’ll look at and review is by the Kremlin Ballet Company of Moscow. Alexandra Timofeeva plays as  Esmeralda. While I could be wrong this production was done in April 2016. Though there were performs in 2014, so it could something they perform periodically. 

I feel very much out of my  depth with this one.