Opera, Ballet, Theatre, ...
Want to know the back story for Myrtha, Queen of the Wilis in Giselle? In Facada, the final item of this triple bill, choreographer Arthur Pita shows a bride having been jilted at the altar finally destroying her man and dancing on his grave. This merciless ending is a fitting one to an evening that …
Two completely new ballets, plus one staple from the Balanchine repertoire, made a very well judged triple bill. Alexei Ratmansky’s dances to Chopin’s 24 Preludes were sandwiched between the ethereal Apollo, and Christopher Wheeldon’s powerful new creation to Benjamin Britten’s Sinfonia da Requiem. More on that later, but first to Apollo. Patricia Neary’s staging goes back to Balanchine’s …
…putting on this triple bill is quite a feat. Three different conductors, dozens of dancers, many with difficult roles — the Royal Ballet surpasses itself, and the auditorium should really be full to bursting.
Asphodel Meadows is a very interesting new ballet by Liam Scarlett, to Poulenc’s Concerto in D minor for two pianos and orchestra.
David McVicar’s new production strips away the Egyptian baggage and places events in an ancient time of masculine combat, female sexual energy, and human sacrifice.
