Mainly Opera and Ballet
In the Royal Ballet’s 2018 production of Swan Lake the evil Von Rothbart appears in two guises, one as the sorcerer who has turned young maidens into swans, the other at court as the queen’s confidant, looking very much like a younger version of Vladimir Putin. This invites comparisons with Russian history — see my review …
What a treat to be back at the Royal Opera House to watch The Nutcracker, despite the social distancing for dancers and audience. My review in The Article.
Tchaikovsky’s final ballet contains some of his most glorious music, but you wouldn’t know it from this dull and occasionally too forceful rendering of the score conducted by Barry Wordsworth. A pity too because the dancing was superb. As Clara, Anna Rose O’Sullivan was full of lightness and youthful wonder, with beautiful arm movements, and …
Bravo! Liam Scarlett has put the magic back into Swan Lake. Short tutus for the swans have returned, and the ever-changing patterns they make on stage give life and strength to the white acts. From the stalls you may not be able to appreciate them — I was in the Amphi — but with 26 …
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 …
The second run of Sleeping Beauty this season started in grand style with Marianela Nuñez as Princess Aurora and Vadim Muntagirov as her prince, and a cast close to that for the live cinema relay at the end of the month. In Act I Nuñez showed the thrill of a teenager at her own coming …
The setting of this ‘late-summer’ ballet with its wealthy farmer, hay bales and young peasants makes a great season opener, with Morera and Muntagirov repeating their excellent Lisa and Colas from April last year. As dawn breaks, Tristan Dyer’s cockerel and his hens opened the performance in fine style, before Morera and Muntagirov’s beautifully gentle …
Royal Ballet triple bills rarely begin with a new ballet, but this one started with the world premiere of Wayne McGregor’s Obsidian Tear to a half-hour orchestral piece by Finnish composer Esa-Pekka Salonen. Salonen, better known as a conductor, takes up the baton to direct his own music, named Nyx after the Greek goddess of the …
This was the first outing at Covent Garden for each of these three ballets, and for Christopher Wheeldon’s new narrative work Strapless a world premiere, framed here by the two abstract pieces. The first, After the Rain is a lovely ballet in two sections to music by Arvo Pärt, premiered by the New York City …
Why were there inexpensive empty seats? This is a wonderful mixed bill of Ashton ballets, including his delightful Two Pigeons featuring Jacques Dupont’s glorious set with its window to the city and sky of Paris beautifully lit by Peter Teigen. Yet before this colourful drama of two lovers reunited after one flies the nest, we …
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 …
The Royal Ballet’s season finale at Covent Garden appears as the Company prepares for its American tour, which starts with Acosta’s Don Quixote in Washington and Chicago before moving to New York with two mixed bills, one including Song of the Earth. The casts for Song in London were similar to those planned for New …
Wonderful freshness and vitality from the whole company in this revival of Ashton’s delightful ballet, and Vadim Muntagirov as Colas was perfection. His deft technique and control — and those glorious split jumps in second — combined with a boyish charm made him an irresistible foil to Laura Morera’s quietly understated Lisa. The idyllic happiness …
For John Cranko’s 1960s take on Pushkin’s verse narrative the husband and wife partnership of Marianela Nuñez and Thiago Soares is about as perfect as it gets. The tearing up of one another’s letters — a Cranko innovation absent from Pushkin, where Onegin rejects her advances in a far gentler way — was effected with cool …
Four Ashton ballets in one evening — what a spoil. The first and third created just after the Second World War, the other two in 1976. Scénes de ballet is a perfect opener. Stravinsky’s music, originally commissioned for a Broadway revue, was conducted with suitable astringency by Emmanuel Plasson, making a striking contrast to one …
This was the first performance by the second cast, originally scheduled for last Saturday but postponed due to lack of rehearsal time. Second cast it may have been, but prima ballerina Marianela Nuñez gave a beautifully nuanced performance of Hermione filled with emotional expression. Her solo in Act I, with her husband Leontes (Bennet Gartside) …
Congratulations to artistic director Tamara Rojo for overseeing the ENB’s hugely entertaining production of Le Corsaire. Its central section is the pirates’ lair of Act II where Medora foils the assassination of her beloved Conrad by his Lieutenant Birbanto, following gloriously exuberant dancing by the lovers and Conrad’s slave Ali. The thrilling choreography for Ali …
Britain now has its very own version of Le Corsaire, and what a wonderful romp it is. To the original score by Adolphe Adam, composer of Giselle, producers have almost always interpolated additional material by Pugni, Drigo et al, and what ENB have given us is a pot pourri of glorious music, excitingly played under …
This intriguing triple bill is the first programme artistic director Tamara Rojo has put together for the Company, and she even dances in it herself. The second item Le Jeune Homme et la Mort is worth the whole programme, and on the first night Rojo was the coolly callous young woman, with Nicolas le Riche, …
Kenneth MacMillan’s production of Sleeping Beauty, with its glorious costumes by Nicholas Geogiardis, is a joy to watch, the sets by Peter Farmer reflecting a mistiness in the world beyond the action like some famous Renaissance paintings. The expression of the action is crystal clear in its use of mime, and for anyone unfamiliar with the conventions a helpful …
The clever concept behind English National Ballet’s Nutcracker is not that the toy comes to life, but that in Clara’s mind he takes on the form of Drosselmeyer’s handsome nephew, seen in a blue uniform at the party in Act I. After the death of the Mouse King, which occurs in Act II of this production, the …
The second part of ENB’s spring programme Beyond Ballets Russes has a charming middle section comprising Jeux and a solo from Le train bleu, sandwiched between two glorious works in white: Apollo and Suite en Blanc. Apollo was choreographed by the 24-year old Balanchine in 1928, though he later revised it, cutting out the birth of Apollo at …
Nureyev’s choreography gives a real edge to the fight scenes, and the punch-up in Act I sets the stage for the ensuing spitefulness between two feuding families. He first created the production for this company … in 1977, dancing the role of Romeo himself. This revival … has a thrilling energy, just like Nureyev himself …
In the Hoffmann original the Nutcracker is a magical version of Drosselmeyer’s nephew, a feature represented in Eagling’s production by having the two characters interchange on stage several times.
This is a very welcome revival of Michael Corder’s production, with beautiful dancing by Daria Klimentova as Cinderella, very well supported by Vadim Muntagirov as the prince.
