Tag Archives: Wayne McGregor

Royal Ballet Triple: Obsidian Tear/ The Invitation/ Within the Golden Hour, ROH, Covent Garden, May 2016

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 …

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Royal Ballet Triple: Rhapsody/ Tetractys—The Art of Fugue/ Gloria, Covent Garden, February 2014

When Frederick Ashton choreographed Rhapsody to Rachmaninov’s Variations on a theme by Paganini he created the principal male role on Mikhail Baryshnikov, and the quick darting steps were sublimely performed here by Steven McRae. He has the power, he has the leaps, and his fast chainés towards the end were stunning. It was an extraordinary …

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Royal Ballet Triple: Chroma/ The Human Seasons/ Rite of Spring, Covent Garden, November 2013

The world premiere in this triple bill was the second ballet by David Dawson, making his Royal Ballet debut as a choreographer. I know someone who skipped the first item, and another who skipped the third, but both were in full anticipation of the second and neither was disappointed. The evening started with Wayne McGregor’s …

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Raven Girl/ Symphony in C, Royal Ballet, Covent Garden, May 2013

Choreographer Wayne McGregor’s strength is as a visual artist, and this ballet is based on a fairy tale by Audrey Niffenegger, a novelist and visual artist. A postman falls in love with a raven that gives birth to their child the Raven Girl, who yearns to be bird rather than human. Despite the range of …

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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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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: Limen, Marguerite and Armand, Requiem, Covent Garden, October 2011

Having seen Limen two years ago, my main memory was of blue number lights at the rear of the stage in a confusing on-again-off-again pattern, along with dancers barely visible in a half-light, but that is only in the second part. The first half is better, and I like Kaija Saariaho’s music, I love the use of bright …

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Ballo della Regina/ Live Fire Exercise/ DGV:Danse à Grande Vitesse, Royal Ballet, Covent Garden, May 2011

This triple bill made for a rather fragmented evening, because the first two pieces took only 36 minutes between them, while the two intervals lasted half an hour each. But it was all worth it because the final item, Christopher Wheeldon’s Danse à Grande Vitesse, was wonderfully invigorating and performed with great energy. A clear stage …

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Royal Ballet Triple: Chroma, Tryst, Symphony in C, Covent Garden, May 2010

…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.

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Triple Bill: As One, Rushes, Infra, Royal Ballet, February 2010

The second item, Rushes — Fragments of a Lost Story, by Kim Brandstrup is a beautiful description of a relationship between a man and two women.

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Review — Royal Ballet Triple Bill: Agon, Sphinx, and Limen, 13th November 2009

In Cocteau’s 1934 play La machine infernale the Sphinx challenges her own destiny. Weary of immortality she desires love and freedom, and takes the guise of a young woman.

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Triple Bill — Agon, Sphinx, and Limen, Royal Ballet, November 2009

The choreography [of Limen] fitted very well with the lovely music by Finnish composer Kaija Saariaho

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Dido and Aeneas by Purcell, and Acis and Galatea by Handel, Royal Opera, April 2009

Acis and Galatea is a beautiful work, musically speaking … composed as a pastoral serenata, which means it would be sung without elaborate staging, though the performers would probably have worn costumes … This staging by Wayne McGregor was frightfully elaborate, which I think detracted from the beauty of the work

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