Tag Archives: Liam Scarlett

Royal Ballet Mixed Bill: The Vertiginous Thrill of Exactitude/ Tarantella/ Strapless/ Symphonic Dances, ROH, Covent Garden, May 2017

The main focus of this mixed bill is its final item, Liam Scarlett’s new work to Rachmaninov’s Symphonic Dances. The abundant melody of this 1940 composition allows ideas to emerge in and around each other, skilfully expressed in Scarlett’s choreography. For the forces of nature in this music, brilliantly conducted by Koen Kessels, Scarlett and …

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Frankenstein, Royal Ballet, ROH, Covent Garden, May 2016

Liam Scarlett’s interest in German myth and murderous intrigue, already apparent in his ballets Hansel and Gretel and Sweet Violets, now finds its full flowering in Mary Shelley’s 1818 story of Victor Frankenstein. This meditation on loss, the yearning for love, and fear of the outsider shows the folly of taking on oneself the gods’ …

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Royal Ballet Mixed Bill: Viscera/ Afternoon of a Faun/ Tchaikovsky pas-de-deux/ Carmen, ROH, Covent Garden, October 2015

The big draw of the evening was Carlos Acosta’s new Carmen, but the three preceding ballets, all superbly danced, were arguably worth the whole evening. Liam Scarlett’s Viscera made a welcome return after its first performances three years ago, with Leticia Stock and Nehemiah Kish in the tranquil pas-de-deux that shows the tentative attraction between …

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Royal Ballet Triple Bill: Ceremony of Innocence, Age of Anxiety, Aeternum, Royal Ballet, ROH, Covent Garden, October 2014

This triple bill takes us from the loss of childhood innocence to the memory of parents passed away, ideas that frame the first and third items, both to music of Benjamin Britten. Ceremony of Innocence appears in W B Yeats’ poem The Second Coming as ‘The ceremony of innocence is drowned’, a line that Britten …

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Royal Ballet Triple: Serenade/ Sweet Violets/ DGV, Covent Garden, May 2014

Liam Scarlett’s dark narrative ballet Sweet Violets was beautifully framed here by Balanchine’s Serenade and Wheeldon’s Danse à grande vitesse. The Balanchine work, his first in America, originated from a series of evening classes he gave in New York, the seventeen girls at the start being the number who attended the first class. Among sixteen …

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Lest We Forget, English National Ballet, ENB, Barbican, April 2014

One hundred years after the start of The Great War, this commemoration of its horrors opened at the Barbican last night with three new ballets specially commissioned by artistic director Tamara Rojo. The evening started with Liam Scarlett’s No Man’s Land connecting women at home with their men at war via the factory work of …

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Hansel and Gretel, Royal Ballet, ROH Linbury Studio, May 2013

Entering the Linbury Studio you go downstairs — the whole venue is underground, as is the witch’s kitchen in Liam Scarlett’s new dark version of Hansel and Gretel, where the children are tied up in a dungeon. Scarlett’s ballet is set in 1950s America, and by coincidence the big news story of the moment concerns …

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Royal Ballet Triple: Viscera/ Infra/ Fool’s Paradise, Covent Garden, November 2012

This wonderful evening of dance featured two interesting works receiving their first performances by the Royal Ballet. First came Viscera by Liam Scarlett, commissioned by the Miami City Ballet and premiered in their home-town during January 2012. With costumes by Scarlett himself, beautifully pure lighting by John Hall, and music for piano and orchestra in three movements by American …

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Metamorphosis: Titian 2012, Royal Ballet, Covent Garden, July 2012

This triple bill, inspired by three Titian paintings currently on view at the National Gallery (Diana and Callisto, Diana and Actaeon, and The Death of Actaeon), is a tribute to Monica Mason who is retiring as artistic director of the Royal Ballet. The three ballets involved seven choreographers! The theme of the paintings finally came to life …

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La Fille mal gardée, with Choe and Maloney, Royal Ballet, Covent Garden, May 2012

For a witty pastoral story of young love triumphing over a widow’s desire to marry her daughter into wealth this ballet is hard to beat. First created in 1789, the year of the French revolution, its characters are ordinary folk, unlike the stylized shepherds and shepherdesses seen on stage at that time. The scenario is …

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Royal Ballet Triple: Polyphonia/ Sweet Violets/ Carbon Life, Covent Garden, April 2012

This was an entirely twenty-first century triple bill. The first work, Christopher Wheeldon’s Polyphonia, set to ten piano pieces by Ligeti, was first shown in New York at the start of the century, January 2001. The large Covent Garden stage gave space to the spare minimalism of Wheeldon’s choreography, with darkness sometimes surrounding a spot for the dancers. …

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Royal Ballet Triple: Asphodel Meadows, Enigma Variations, Gloria, Covent Garden, November 2011

The first and last items on this excellent programme are to music by Poulenc, and both these two ballets — though not the music — deal with death. In an announcement at the start of the evening, a request was made for no applause during Gloria. As a result the audience seemed hesitant about applauding the …

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Swan Lake, with Rojo and Acosta, Royal Ballet, Covent Garden, March 2011

Tamara Rojo is the quintessential Odette/Odile … Carlos Acosta as the prince was wonderful … his deft partnering allowed her to shine

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Royal Ballet Triple: Electric Counterpoint, Asphodel Meadows, Carmen, Covent Garden, May 2010

Asphodel Meadows is a very interesting new ballet by Liam Scarlett, to Poulenc’s Concerto in D minor for two pianos and orchestra.

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MacMillan Triple: Concerto, The Judas Tree, Elite Syncopations, a second view, Royal Ballet, March 2010

Marianela Nuñez was outstanding in the second female solo [of Elite Syncopations], so musical, and with enormous precision and attack.

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