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Posts Tagged ‘Alexandra Ansanelli’

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The 2008/2009 Royal Ballet season was filled with golden tickets, but which acts made the Bag Ladies tick the most? As we gear up to restock for the new season (tickets go on public sale in 2 weeks), see our top dancers & top dances below and feel free to use the comment form to opine on who was just the ticket for you!

Melissa Hamilton in Infra. Photo:Laurie Lewis - Royal Ballet ©. Source: The Independent.

Melissa Hamilton and Eric Underwood in Infra. Photo:Laurie Lewis - Royal Ballet ©. Source: The Independent.

Best “New Kid On The Block”: Melissa Hamilton

She was a golden vision in her first big role, stepping in for (and looking remarkably like) Sarah Lamb on L’Invitation au Voyage, but Melissa soon made a mark of her own in a selection of modern pieces like McGregor’s Infra, Acis & Galatea, Wheeldon’s DGV and Marriott’s Sensorium, making the most of her edgy line and incredible extensions.

Comeback Guy: Steven McRae

Injury may have robbed him of touring last summer & of some chunky debuts (including Lescaut in Manon) but McRae returned to the stage just in time to sparkle in The Nutcracker, shine as the Golden Idol, create principal roles in McGregor’s sleek productions of Dido & Aeneas/Acis & Galatea and bag a promotion to Principal, no mean feat! (For a full feature on Steven, see our previous post).

Comeback Girl: Alina Cojocaru

Alina was sorely missed at Covent Garden for over a year, which was more or less the time it took her to undergo & recover from neck surgery. But in April she returned triumphantly in one of her signature roles, Giselle, amongst a shower of daffodils for the ages. She also managed to play her quirky side in the sweet & short Les Lutins, glow like the most brilliant jewel in Diamonds and join the RB summer tour for the first time since 2006.

Alina Cojocaru and Johan Kobborg in Giselle. Photo: Tristram Kenton ©. Source: The Guardian

Alina Cojocaru and Johan Kobborg in Giselle. Photo: Tristram Kenton ©. Source: The Guardian.

Drama Guy: Johan Kobborg

From his intense and deep reading of Des Grieux and the teacher in The Lesson to his display of virtuosity in classical roles such as Solor, Siegfried and Albrecht, Johan keeps showing us he still has it at 37. We may have missed his partnership with Alina, but at least there was that one Giselle. His future as a choreographer looks promising, given that he got stellar reviews on his short work for the Linbury, Les Lutins.

Drama Girl: Tamara Rojo

Intensely beautiful in Ondine, beautifully intense in Isadora, lush in Manon, luxe in Emeralds, Tamara squeezed dramatic juice in every role she was cast and brought home two DVDs (soon to be released “La Bayadère” and “Manon”, both with Carlos Acosta) to add to her Romeo and Juliet which is rumoured to be “on its way”.

Whiz Guy: Sergei Polunin

We knew we could expect great things from Polunin, after that taste of his Golden Idol last season. With outstanding debuts in Tetley’s Voluntaries, as Solor and in the Nutcracker, he spent all season stealing the thunder from more established colleagues. The reward was a deserved promotion to First Soloist, and a main feature in the ROH media campaign for the upcoming season. All of this at 19!

Marianela Nuñez. Source: Opusarte ©. Copyright belongs to its respective owners

Marianela Nuñez. Source: Opusarte ©. Copyright belongs to its owners

Whiz Girl: Marianela Nuñez

A great season for Marianela, with lots of opportunitities to display her pristine technique and to bag big roles such as Giselle. Her “4 great Swan Lakes in 7 days” deserves a wizardry award of  its own, but on top of that, she gave stellar performances in abstract pieces, from which we definitely remember Voluntaries, Serenade and that Pas de Deux in Infra.

All-rounder Guy: Ed Watson

Yes, we know that this category seems lifted from the 2008 Dancing Times Award where both Ed and Yuhui (see below) won accolades but Watson was truly a “man for all seasons”, dancing in 13 out of 24 ballets (the busiest principal of all) and leaving a mark of diversity both in the quality of his dancing & repertoire, which spanned from old classics (Giselle, Firebird, Ondine) to the 20th century classics (Manon, Dances at a Gathering) and the contemporary (Infra, Acis & Galatea, DGV).

All-rounder Girl: Yuhui Choe

Injuries for some, opportunities for others. Added to scheduled debuts as the Sugar Plum Fairy and Nikiya, Yuhui also made the most of whatever chances she got to cover for her seniors, displaying her ethereal dancing, strong musicality, those trademark soft arms (Dances At a Gathering, Les Sylphides), coupled with energy & attack (The Lesson, Rubies).

Carlos Acosta and Alexandra Ansanelli in Rubies. Photo: Johan Persson- Royal Ballet ©. Copyright belongs to its respective owners.

Carlos Acosta and Alexandra Ansanelli in Rubies. Photo: Johan Persson- Royal Ballet ©. Copyright belongs to its respective owners.

Best Partnership: Alexandra Ansanelli & Carlos Acosta

Fair enough, Alexandra and Carlos were never really a partnership (they had a brief stint in La Bayadère, back in January) but the sizzling chemistry they displayed in Rubies, in roles which were  so in tune with their own abilities, made us wish, first that Alexandra would have been cast to dance with Carlos in Dances at a Gathering back in March and second, for a world in which Alexandra was not retiring, so we could see them paired again. Easily the best couple in Jewels, it  was clear that Carlos found his match in Alexandra’s flirty and bendy ruby.

Best Narrative Production: Giselle

The Royal Ballet has productions of the classics that either go over the top of glittery & sweet or fall short when compared to its counterparts in other big companies, but Giselle truly deserves being nicknamed as “The Jewel in the RB’s Crown”. Sir Peter Wright‘s production brings the story to life with beautiful designs, costumes and most importantly, coherent storytelling through both the mime and choreographic sequences.

Best Abstract Production: Dances at a Gathering

DAAG really is like Mr. B said to Mr. Robbins: like popping peanuts in one’s mouth. The combination of the Chopin piano pieces, the delightful choreography and the RB’s unique imprint is so addictive we could watch it over and over again.

Best International Acts:

It’s not all about the RB all the time! While the dancers below have individually left their marks on us while visiting London throughout 2008/2009, hearsay is that even greater things happen when you pair them with their fellow company members. Mariinsky recent cast changes frustrated our plans to see team Obr/Shk, but we have not yet lost hope. So, which couples would you recommend we travel far to catch? Here is a shortlist that we assembled based on our exchanges with fellow Twitterers:

Tiler Peck & Daniel Ulbricht, NYCB

Yevgenia Obraztsova & Vladimir Shklyarov, Mariinsky

Veronika Part & Marcelo Gomes, ABT

Please cast your vote on our Facebook page (link to the poll), or let us know who you think deserves the accolade. 

And last but not least,

Dancers who will be missed:

RB’s Alexandra Ansanelli , RB’s Isabel McMeekan, PNB’s Louise Nadeau, SFB’s Tina LeBlanc.

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It is hard to believe that someone like Alexandra Ansanelli, one of the Royal Ballet’s youngest principal ballerinas, is retiring, given all her accomplishments and the fact that she has always been so vocal about her passion for dancing. At only 28, her impressive CV includes principal dancing jobs in two of the world’s foremost ballet companies and a list of personal achievements which range from overcoming major obstacles and injuries, to adapting to different styles and winning over demanding dance audiences with her particular gifts.

The Ballet Bag is sad that Alexandra is leaving. Over the last two seasons she had become a staple at Covent Garden, someone clearly distinctive, elegant and with particular subtleties in her dance. We also admired her courage of facing up to skepticism and how she adapted her training and brought her unique gifts to the Royal Ballet. We pay homage to her with a brief account of her career and a collection of some of Alexandra’s interesting quotes over the years.

Alexandra Ansanelli. Source: Oberons Grove. Copyright belongs to its respective owners

Alexandra Ansanelli. Source: Oberon's Grove. Copyright belongs to its respective owners

Alexandra’s Story:

Alexandra was born in 1980 to parents of Italian and English descent. She is the youngest of three sisters and surprisingly, she arrived to ballet quite late in her life, having devoted her athletic body and energies to football at first. Her life changed when she attended an arts summer camp is Massachusetts and got told she should audition for the School of American Ballet (SAB).

Aged 11, with no previous ballet background, Alexandra impressed the jury and was admitted at SAB. Commuting three days a week to New York from Long Island to attend class with older girls proved testing for Alexandra and she felt she was lagging behind. The following year, her parents had her move Secondary schools and rented an apartment in New York. During this time, Alexandra was already performing children’s roles with New York City Ballet (NYCB) and winning scholarships for very distinguished summer programmes.

Even though she had never performed at annual performances, Peter Martins saw Alexandra in the studio and hired her as a NYCB apprentice. She then appeared in The Nutcracker and got rewarded with a contract and and a principal role (Dewdrop fairy) on her 16th birthday. She bolted across the ranks, soloist at 17 and principal at just 23, but this quick progression was not without its share of obstacles: she was off for almost two years with a misdiagnosed foot injury which left her unable to walk and close to the point of giving up dance. Her resilience and passion kept her looking for the right answer and finally after receiving the correct assistance she was given the all clear to return.

Alexandra’s NYCB tenure gave her a huge fanbase and the opportunity to work closely with important choreographers, from the legendary Jerome Robbins to the young  & budding Christopher Wheeldon, but she wanted to explore the big world of classics outside the local repertoire, so she decided to leave City ballet in 2005  to look for something else. This strategy paid off and in less than a month she was receiving offers from major companies with classical repertoire, amongst which an audition with Monica Mason followed by an invitation to join the Royal Ballet as a First Soloist, in other words, just the ticket for Alexandra to slowly break into those great classical and narrative roles she was aiming for.

Even though she started as a First Soloist, Alexandra quickly saw principal roles coming her way. She danced The Lilac Fairy and Aurora in The Sleeping Beauty, Christopher Wheeldon’s Polyphonia, Balanchine’s Tchaikovsky’s Pas de Deux and Jerome Robbins’ Afternoon of the Faun. Some critics loved her  (and we are forever indebted to FT’s Clement Crisp for first drawing our attention to her) but Covent Garden audiences were divided, given the stylistical differences the SAB training imprinted on her dancing. All this she took as a challenge, with a clear determination to conquer the dramatic undertones in the Royal Ballet’s own style.

In March 2009, after a great season which began with plum debuts in Ashton’s Ondine and as Swan Lake’s Odette/Odile (“a performance of beautiful line, emotional finesse and of fascinating promise for the future” as Mr. Crisp  then noted), Alexandra claimed ballet  no longer completed her and announced her retirement. She had just wrapped up performances as Gamzatti in La Bayadere and the Sugar Plum Fairy in Sir Peter Wright’s Nutcracker, and had been lined up for Mayerling and Sleeping Beauty (amongst others) in the 2009/2010 season.

The Goodbye

Her last performance in London on June 16 as the lead female role in Balanchine’s Rubies opposite Carlos Acosta felt quite fitting, given her NYCB roots. Whilst she had throughout her Royal Ballet years expanded her range enormously, having drawn praise and a whole new fan base with her soft, rippling Ondine of just a few weeks before, Rubies never stopped fitting her like a glove: she dazzled and enchanted us, showing her fiery character and throwing herself into the choreography (It was quite a contrast to Yuhui Choe‘s more restrained, more studied performance in the same role). Alexandra’s last night at Covent Garden was a success, not only due to its aura of adieu, but because it was incredible to see someone clearly enjoying herself on stage and yet about to stop for good. She went out and gave it her all, with Carlos, who enjoys “upping his ante” when the occasion befalls, outstanding but giving Alexandra the opportunity to shine, since it was her night.

At the end of Rubies, with a continuous flow of applause and some ruby red flowers thrown in from the amphitheatre, Carlos chivalrously led an emotional and teary eyed Alexandra to take centre stage, taking a back seat and directing the applause her way, letting Alexandra enjoy her moment all the way through the red run curtain calls. As the applause went on we felt as if some of the audience was trying to convey to Alexandra that she was loved and appreciated and that she certainly was going to be missed.

See also: Emilia’s take on Alexandra’s farewell performance

Some Quotes:

On Why she left City Ballet:

It’s the music in the story ballets, the music, and then the story, that touches a part of my soul that is indescribable.

On the classical repertoire:

I’ve always been passionate about the classical works, and it was important to me as a ballerina to get that education.

On Balanchine’s take on épaulement:

I think he wanted his own style, different from the classical world that he had left behind in Europe.

On what she finds fascinating about ballet:

One of the things that fascinates me about ballet is to see how very different it ” looks ” from one country to the next.

What she would like to see happen in ballet over the next 20 years:

I would like the ballet to have a much broader audience, to reach far more people, and to have them understand more, and to be more involved, with our art form.

On her decision of leaving ballet:

I feel one must be completely devoted if you are a dancer, it’s like a marriage. I have had to face the realization that this is not completing me as a person.

Alexandra’s last performances with the Royal Ballet are in Washington DC, at the Kennedy Center (June 24) and in Cuba, at the Gran Teatro de la Habana (July 14-16). She will be performing the lead role in Ashton’s A Month in the Country as part of the Royal Ballet’s triple bill.

Sources and Further Information:

  1. Interview with Alexandra Ansanelli (circa 2005) via In the Name of Auguste Vestris [link]
  2. Alexandra Ansanelli interviewed by David Bain. Report from The Ballet Association (circa 2006) via Ballet.co [link]
  3. Alexandra Ansanelli’s Artist Detail at www.roh.org.uk [link]
  4. The Classical Test for a City Ballet Star who Flew by Roslyn Sulcas, via the NY Times [link]
  5. A Young Ballet’s Star Surprising Choice by Roslyn Sulcas, via the NY Times [link]
  6. An Early Swan Song by Sarah Kaufman, via the Washington Post [link]
  7. Behind the Scenes with Alexandra Ansanelli. From Pointe Magazine’s 10th Anniversary Photo Shoot, via Dancemedia [link]
  8. Statement by Alexandra, issued by Pointe Magazine via BalletTalk [link]

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Alina Cojocaru and Rupert Pennefather in Diamonds. Copyright belongs to its respective owners. Source: via The Telegraph

Alina Cojocaru and Rupert Pennefather in Diamonds. Copyright belongs to its respective owners. Source: via The Telegraph

Last week saw Balanchine’s Jewels return to the Royal Opera House to send off the 2008/2009 ballet season in glittering style. A few things have changed since its premiere in 2007: gone the lavish frocks and sizeable jewels to match those onstage, as worn by first night audiences the other side of the credit crunch; present lots of cast changes and regrettable absences due to injury, most notably leading ladies Zenaida Yanowsky and Sarah Lamb who could not reprise their roles in Rubies and Edward Watson  who, sadly, did not partner Tamara Rojo in Emeralds this time.

Diamonds

Thankfully at least one thing has remained the same: Alina Cojocaru’s radiance in Diamonds. If anything, Cojocaru’s reading of this grand ballerina role has become even better second time around. She is more shrouded in mystery, less the fairy tale princess, more the multifaceted precious stone. Alongside her noble partner Rupert Pennefather she puts on a dazzling display of delicacy in her dance, she is a vision that Rupert pursues and tries to enfold and lock in his arms as if worried she could vanish at any moment. If her first performance last week – more careful – made me admire the beauty of her regal line, her musical phrasing and her lush backbends, the second made my heart skip quite a few beats in its technical precision:  back after one year were Alina’s sharp turns, her lightning speed chaînés combined with that delicate, heart melting quality which makes Cojocaru’s dancing seem as rare as a precious stone and so uniquely endearing. Rupert Pennefather was more than an able partner, generating some unforgettable moments from his own solo work. As he turns in his grande pirouette during the Scherzo (the 3rd movement in this arrangement of the symphony) he advocates to us what Balanchine aimed for, he makes us see clearly all the respective turns in Tchaikovsky’s music. This physical translation of the music is evident in both dancers and in this respect I find them here – as I did in 2007 – very well matched.

So eloquent is the choreography in Diamonds you could think Tchaikovsky’s music would have been especially commissioned for the ballet and not the other way round, revealing to us just how far the genius of Balanchine went. Beginning with patterns formed by the corps, with two soloists later cutting through the lines with delicate pas de chats as they were diamond dust, or even snowflakes on loan from The Nutcraker, these soloists are joined by two further women who seem to trace the choreographic motifs and music box paths for the lead couple to dance on. Their own cavaliers join in later and the whole ensemble present a truly majestic finale, gloved women et al., in a grand ballroom. Composed of the final four movements of Tchaikovsky’s Third Symphony, Diamonds is in itself, the third and final movement within the symphony of dance formed by Balanchine’s Jewels, where Emeralds is the adagio and Rubies the allegro.

Emeralds

While I am, as you would have guessed, very much a “Diamonds girl” I also take delight in the dreamy and elegiac qualities of Emeralds, particularly as executed by Tamara Rojo, Leanne Benjamin, Roberta Marquez, Valeri Hristov, Bennet Gartside and Steven McRae (in the pas de trois) who seem lost in their own reveries or playing an eternal game of “Romantic tag”, which is suggested by the way the first male (Hristov, befuddled but elegant) touches his ballerina, like winding her with a magic wand – a leitmotif which is also seen in the other sections of Jewels. And as four ballerinas, interlinked with their partners, plunge into simultaneous arabesques penchés we see multiple visions of Giselle captured in a delicate bracelet. A real luxury.

Rubies

The most successful of the three Jewels is, conversely, the one that appeals the least to my personal taste. But that’s not to say I do not enjoy a modern cut Ruby sandwiched between an Emerald and a Diamond. Rubies is supposed to showcase three technically brilliant dancers (2 women and 1 man) but now with Laura McCulloch not particularly tall and not particularly dominating (though much more secure in later performances), I feel as if all the action is left in the hands of Alexandra Ansanelli and Carlos Acosta. But at least those are competent hands. Stravinsky’s “Capriccio for Piano and Orchestra” seems to musically suggest a capricious woman and her rakish man and the way this central couple communicate is almost the antithesis of the regal couple in Diamonds: playful, flirty, naughty, temperamental.  At one point Carlos keeps Alexandra waiting as he goes on a dance tangent. Her exasperated looks seem to say “Oh, enough with the waiting already!”. The piano throws a fit while Alexandra fittingly (and carelessly) throws her leg and her whole body in all compass directions. At times she feigns collapsing in Acosta’s arms as a rebellious child lost in a tantrum, whilst in the audience we rebel against her decision to retire from ballet so early (she is only 28 years old). Throughout their duet, Acosta plays with Alexandra’s body as if it were a musical instrument, while her solo dancing speed dazzles us. I may be team Diamonds all the way but this Ruby I shall dearly miss.

See also: Linda’s review of first & second nights of Jewels

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Balanchine‘s first full-length abstract ballet is a celebration of styles and his tribute to the tradition that had shaped ballet during the 19th and 20th centuries. One can only marvel at his achievement while admiring the complexity of the choreography, the richness of the steps and the inclusion of novelty movement and geometry between the dancers. Jewels is a crowd pleasing ballet that will always touch us in a particular way, even more if it is danced with complete command of both technique and artistry.

The programme notes alert us to the natural associations one may draw between the ballet’s name and “a formal kaleidoscope”. When first approaching Jewels, it might seem that this is the case: the designs, costumes and music are all beautiful in every sense of the word, one can only stare in disbelief when the curtain opens to reveal the dancers in Emeralds. Never having seen it live before, I came to the opening performance with two missions: first to see how would I react to  each different ballet and second to try to understand how Rubies became more popular  on its own than Diamonds or Emeralds.

On the first account, it surprised me to discover that although Balanchine is a master of the abstract, with a firm purpose to make us “see the music”, the possibilities of adding personal layers of interpretation to this ballet are endless. I found myself building a story for every single piece, creating characters out of the dancers’ portrayals (I wished I could query the dancers as to their particular ideas and stories when learning the choreography). I also realised, after a second view, that these “stories” changed with every cast, and depended on how they personally approached their roles, who they were partnering, the chemistry, how they presented themselves, physical proportions, etc. In some ways, an abstract ballet gives more interpretive freedom to the dancers while the audience has an  opportunity to draw their own impressions from the proverbial “put a man and a woman together and you get a story”.

Emeralds

The first night Emeralds brought us Tamara Rojo in the role that Violette Verdy made famous. She was partnered by Valeri Hristov replacing the “irreplaceable” (and sadly injured) Edward Watson, whom we missed deeply, since Tamara did not seem to have the same level of complicity with Valeri as she has with Edward. Tamara made use of her expressive arms and amazing acting ability to show us a young girl in love: smiley, flirty and sometimes shy, evading the looks of her suitor, running between the other Emerald ladies. Valeri was the man in love trying to conquer the object of his affection while Tamara tip-toed and twirled through her variation like a maiden who daydreams of her knight in a meadow full of flowers with a stream nearby, with added touches of butterflies and songbirds for good measure. All innocence and young love. Pure joy. Hristov’s variation was ably performed, though less eloquent in Romantic imagery: up to that point, it was all about Tamara.

Leanne Benjamin in Emeralds. Photo: Johan Persson. Source: Danceviewtimes

Leanne Benjamin in Emeralds. Photo: Johan Persson. Source: Danceviewtimes

That is, until Leanne Benjamin appeared on stage. It is quite hard for anyone to steal Tamara’s thunder, but we feel that Leanne achieved this in the way she wove so much drama into the Emeralds “Walking pas de deux“. Here was a mature dancer on top of her game, giving us darkness after the sun, like an older woman saying to the world – here I am, I am still beautiful, still full of things to give, just look at me! – Piqué turns and grand battements made her vaporous tutu ethereal, and even though the movements were strong there was a sense of underlying sadness. This interpretation came full circle when a moody looking Bennet Gartside (replacing an injured Ivan Putrov) brought into the same pas de deux the feel of a mature married couple, struggling with the realisation that time is passing them by, that they are not what they used to be (suggested by the emphasis on arms and legs as clock hands). Registering every nuance of her interpretation I couldn’t stop wondering why Leanne is not as popular as some of the other Royal Ballet younger ballerinas.

The Emeralds pas de trois was danced by the fantastic trio of Steven McRae, Deirdre Chapman (back from maternity leave) and Laura Morera, in what it looked to me like the “hot young guy” surrounded by two enamoured girls. Their execution was flawless and of course, Steven made ample use of this opportunity to show off his fantastic split jetés and perfect tours en l’air.

The second cast of Emeralds had Roberta Marquez and Mara Galeazzi partnered by each of Valeri Hristov (in the same role as opening night) and David Makhateli. These interpretations were a complete constrast to Tamara and Leanne’s rich narratives, with Roberta a more straightforward Emerald who was just enjoying her dancing (and indeed, her smile was infectious). Personally I did not feel Emeralds was a good fit for Mara, since she didn’t convey the innate romanticism in the music and air. As the two leading men were not outstanding, I took the opportunity to observe here some of the girls who are starting to stand-out from the corps (and I wished the ROH included portraits of the artists and first artists in their programmes). The highlight of this performance was the pas de Trois, in which Helen Crawford and Samantha Raine shone, accompanied by an efficient José Martín.

From left to right: Tamara Rojo, Leanne Benjamin, Steven McRae and Roberta Marquez. Source: ROH ©. Copyright belongs to its respective owners.

From left to right: Tamara Rojo, Leanne Benjamin, Steven McRae and Roberta Marquez. Source: ROH ©. Copyright belongs to its respective owners.

In both performances, the finale was well executed and the members of the corps looked sharp and well-rehearsed, all the way to the final pose where the three men, in grand reverence, stare at the horizon.

Rubies

The Royal Ballet in Rubies. Photo: Johan Persson ©. Source: Voice of Dance.

The Royal Ballet in Rubies. Photo: Johan Persson ©. Source: Voice of Dance.

Next stop was sizzling, fun and jazzy Rubies, or should I rename it the A&A Show after the main duo of “Alexandra Ansanelli and Carlos Acosta“. For Alexandra owned the role. I wondered whether this was due to her long history with NYCB and Balanchine choreography, combined with the fact that she has been outstanding this season or  simply that she is enjoying her very last performances before retirement from dance. She played and flirted with Carlos, swaying effortlessly, charmingly and elegantly through her steps. Carlos kept up the dialogue onstage and answered every single stroke, lest he be outshined by this leading lady. They were like the couple everyone stares at on the dance floor, nothing else seemed to matter for them. Here was an amazing newly discovered chemistry between them, which felt fresher than his  own longstanding (and famous) partnership with Tamara. If only Alexandra and Carlos could have been paired up more often, they might have really complemented each other in various ways.

Moving from pas de deux to solo, Carlos and Alexandra showcased their technical abilities while keeping up with the demanding pace, Carlos in particular relishing the opportunity to prove to the audience that he could soar through the stage at least as dazzlingly as Steven McRae from the previous section (plenty of grand jetés and ballon – daring to pause in the air -). Alexandra kept pushing the limits of the choreography, to the point of being in danger of falling. When a missing step called her bluff she just squealed and shrugged it off, which made the performance even more real and endearing.

Less secure was Laura McCulloch in both Rubies casts, covering both Zenaida Yanowsky and Lauren Cuthbertson as the “Tall Girl”.  She seemed eager to eat the stage but wobbled through a few of her arabesques and although much calmer (yet equally enthusiastic) on second performance, I ended up with the impression that she lacks some of the agility and speed to launch her ruby off the ground (though her extensions were amazing, particularly on the second night) and to keep up with the frantic pace of the corps. While I give Laura full marks for being able to pull a two-nighter on a main role at short notice & to stand her ground in a starry cast, I suspect her inner jewel is not really a ruby.

From left to right: Alexandra Ansanelli, Carlos Acosta, Laura McCulloch and Ricardo Cervera. Source: ROH ©. Copyright belongs to its respective owners.

From left to right: Alexandra Ansanelli, Carlos Acosta, Laura McCulloch and Ricardo Cervera. Source: ROH ©. Copyright belongs to its respective owners.

The second cast of Rubies was led by Yuhui Choe (debuting) and Ricardo Cervera. They brought something different than the previous pair, acing the technical demands whilst looking like teenagers fooling around. The casting of Yuhui  – a dancer with the softest arms, who looks in my opinion more Emeralds or Diamonds than Broadway – exemplifies the importance  of giving dancers the opportunity to explore roles not immediately associated with them, to avoid “typecasting”. Important yes, but not necessarily always a good fit. Ricardo didn’t match Acosta’s performance but showed us again that he can jump like the best of them, and he definitely “popped out” when surrounded by the corps in the finale.

With Rubies over, I finally understood its appeal and own success story. It is such an infectious audience-pleaser, filled with continuous surprises, twists and turns. The choreography is so strikingly different. While Emeralds is a thing of pure beauty, Rubies is the one people cheer for & laugh at. It is box office friendly,  and its upbeat, full of spark atmosphere immediately grabs the occasional ballet goers’ attention and takes them along for a wild ride.

Diamonds

The regal Diamonds, the last ballet of the evening, is full of Imperial Russian grandeur and nods to the classics (the hand in the hair from Raymonda, the balances on attitude from Sleeping Beauty‘s Rose Adagio, the arched back on retiré position from Act III Swan Lake, etc). The opening waltz for the corps de ballet immediately reminded me of Sleeping Beauty and Petipa in the beautiful classical lines displayed everywhere and its almost overwhelming grandeur. Still, this serves just as an aperitif to what follows next, the “grand pas de deux.” Opening night saw the beautiful Alina Cojocaru, continuing her comeback from injury, and Rupert Pennefather (who despite being quite tall has been dancing the lead role with tiny Alina since 2007, when he stood in at the premiere for an injured Federico Bonelli) looking picture perfect as prince and princess (again, think Aurora). This opening performance had quite a special “aura” that could be felt in the auditorium, as if we were all collectively gauging how Alina might have changed post her prolonged absence from the stage. She performed carefully and given the difference in height there were also slight complications and miniminal issues in Rupert’s partnering (as on the aided pirouettes). All this didn’t matter since it was more her artistry that shone through her dancing, her arms expressing every single note of the music, her face full of emotion, but with an underlying melodramatic tone that permeated the pas de deux. In some wonderful balances on attitude you could feel her full commitment to the steps, as if there was no tomorrow and this was the last time she could do this. It was not Aurora on stage, or any other of the Petipa heroines, but a more womanly princess, completely aware of her emotions and transparent to everyone to see. Suffice to say that her performance affected me in such a way that I still need some time to think about it.

Alina Cojocaru and Rupert Pennefather in Diamonds. Photo: Tristram Kenton ©. Source: The Guardian.

Alina Cojocaru and Rupert Pennefather in Diamonds. Photo: Tristram Kenton ©. Source: The Guardian.

Rupert was a handsome prince and his dancing was sharp and precise, showing all the dividends he has accumulated this season as a dancer. His variation was elegant and noble. I thought he complimented Alina’s performance in a subdued way, and it was very sweet of him to thank her at the end, as if it had been his privilege to dance with her. He might not be my favourite partner for Alina, but he is definitely a dancer who is getting better and better.

The second cast was led by sunny Marianela Nuñez and her real life prince Thiago Soares. Given the season Marianela has had, it would be difficult to think she wouldn’t ace this role, and indeed she did. As usual, her technique came across strongly and Thiago was more than an accommodating partner (his variation featured slightly different jumps than Rupert’s, but all cleanly executed). However, I couldn’t help feeling as if I was watching a reprisal of the Wedding festivities of Sleeping Beauty. There was not as much depth as in Alina’s and Rupert’s performance, but this might be just my personal take on it, as underneath it all, this is an abstract ballet.

From left to right: Rupert Pennefather, Alina Cojocaru, Thiago Soares and Marianela Nuñez. Source: ROH ©. Copyright belongs to its respective owners.

From left to right: Rupert Pennefather, Alina Cojocaru, Thiago Soares and Marianela Nuñez. Source: ROH ©. Copyright belongs to its respective owners.

I should also add honorary mentions to the corps in the polonaise (although they offered a much better and coordinated performance on second night) and to Thomas Whitehead, Yohei Sasaki and Yuhui Choe on the first night, and Brian Maloney, Sergei Polunin, Helen Crawford and Samantha Raine (on double duty together with Emeralds), all of whom noticeably good in their soloist roles.

In short, Diamonds stands as a great closing piece, one that evokes and pays tribute to the classics, while also serving as a rich frame to the central couple and in particular the main ballerina. It is the dance equivalent of a decadent dessert, a celebration of dance which is best enjoyed and appreciated alongside first courses of Emeralds and Rubies. In any case, the Royal Ballet did well to acquire the three ballets for its repertoire. It is the ideal vehicle for showcasing the jewel-like ballerinas in its ranks. I am quite sure I will be going back to Covent Garden anytime it is revived.

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Schéhérazade, feat. Ulyana Lopatkina and Farukh Ruzimatov. Source: The ROH ©. Copyright belongs to its respective owners.

Last Sunday I attended the “Tribute to Diaghilev”, a gala in celebration of  100 years of Ballets Russes and of its visionary mastermind, Sergei Diaghilev. The event brought together many stars of the Mariinsky, Paris Opera Ballet, English National Ballet and Royal Ballet, dancing extracts of vintage pieces made or inspired by Ballet Russes choreographers such as Fokine, Nijinska, Massine and Balanchine along with Russian-bred ballets evoking those that Diaghilev would have disseminated to Western audiences at the time (abridged versions of Swan Lake, Sleeping Beauty, etc.). It is difficult to imagine how the ballet scene would be today without Diaghilev and his determination, through which a new breed of dancers and choreographers flourished  and established some of today’s best Companies, so it is fitting that dancers and audiences pay tribute to his work.

Before I go onto the programme, a brief comment on galas. Noticing the lack of scenery and props, I wonder how hard it is then for the dancers to get into character in such events, especially in more narrative pieces. Without the props the dancing really becomes the focus, which partly explains why Balanchine favoured bare settings in his works. The second thing is that galas are precisely the occasion for star dancers to “show off their chops”, with no fear of being branded too showy. One expects great performances and that’s why Grand Pas de Deux, especially those requiring a sequence of 32 fouettées for the ballerina are standard. Sometimes I think there must be a rule out there stating that no gala should be without one.

With Fokine’s pieces taking centre stage, the opening number was the Schéhérezade pas de deux with Mariinsky’s Ulyana Lopatkina and Igor Zelensky (replacing Farukh Ruzimatov). For those of you not familiar with this ballet, the  story involves Zobeide, her slave lover, her betrayal of jealous King Shahriar who plots to expose his favorite odalisque, leading to the tragic demise of her lover. Zobeide kills herself and the ballet ends with the King raising his arms in despair, realising he’d rather trade his pride for having Zobeide back. The pas de deux between the slave and Zobeide was marvelously danced by Ulyana, stretching her long limbs in ways that are almost impossible to believe, but always keeping classical alignment (attitudes and developpés galore). Igor Zelensky was a formidable partner, and the connection between both dancers was evident from the way their movements mirrored each other. The choreography, which is all about passion and sensuality, might in the wrong hands look as  pure contortionism, but here it was rendered to great effect no doubt due to such amazing (and experienced) dancers.  On a side note, the costumes were so detailed and rich that one can only imagine how the full production would look like.

The next piece was Ashton’s Daphnis and Chloe (video link), included as a nod to Fokine’s older, discarded version using the same Ravel score, and danced by Birmingham Royal Ballet’s Natasha Oughtred (in lieu of Alina Cojocaru, in a last minute cast change) and Federico Bonelli, back from injury and in good shape. Though Ashton’s very distinctive choreography shined, somehow it also clashed with the programme’s strong emphasis on Fokine. The dancing was solid with Natasha showing her mastery of Ashton’s fast paced footwork including some  impressive hops on pointe, but I didn’t get emotionally involved in the performance, which might indicate that either this piece is not adequate for a gala setting or that Alina’s withhdrawal at short notice left these dancers little time to work together.

Federico Bonelli and Jamie Tapper in Daphnis et Chloe. Photo: Dee Conway ©. Source: Danceviewtimes

Petrushka followed, with ENB’s Dmitri Gruzdyev playing the puppet with feelings who falls for a ballerina. But the fragment was so short and the setting so bare there was not enough time to register and those unfamiliar with the story might have been left scratching their heads. Thankfully this didn’t happen with Ashton’s La Chatte, which was fantastically danced by Alexandra Ansanelli (whom we miss already). The Diaghilev connection to this ballet, based on the Aesop fable of cat’s metamorphosis into woman & back into cat (upon encounter with mouse), comes from Balanchine’s own 1927 version for the Ballets Russes. Alexandra’s portrayal, both funny and impecable dancing-wise and the feeling that she seemed to be enjoying herself so much as to make most people in the audience wonder why she is retiring from dance, added to the fact that she actually meow-ed when the mechanical mouse made its climatic appearance at the very end made this piece one of the evening’s highlights.

The second act pas de deux from Giselle, conveniently marked as “arranged by Fokine” to secure its place in the gala, was danced by Paris Opera Ballet’s recently promoted wunderkind Mathias Heymann (a 21 year old principal!) and young soloist Mathilde Froustey. They looked the part as Albrecht and Giselle (she has a beautiful oval shaped face with dark tresses) with all the right lines and très français Romantic air. There were some technical glitches, her promenade in arabesque wobbly everywhere, his tours en l’air (granted those are hard!) sloppy. This disappointed me, for as hard as it is for dancers to pull off these moody pieces in a gala setting, given the crème de la crème of dancing present, one does expect to see something close to flawless. More so in a “bread and butter” piece such as Giselle. They had brilliant technical moments: Mathilde’s jumps (soubresauts & entrechats) reached great heights and soft landings, while Mathias’s diagonal of cabriolés was outstanding (such height!). But with all due allowances, including  an extra for nerves (young dancers having to share the spotlight with such established stars as Lopatkina, Zelensky, etc.), I could not find the emotion in the performance. It fell on me that Giselle is really a role for more experienced dancers, or at least they are the ones I tend to enjoy the most in this ballet.

The low point of the gala came with Tamar, a ballet about a cruel Queen “who lures passers by to her bed and their death”, danced by Mariinsky’s Irma Nioradze and Ilya Kuznetsov. I cannot list all the wrongs with this piece in one post, but for starters the music was recorded (no explanation given), the costumes were awful (hers a sparkly leopard print catsuit), and the choreography, which was presented as Julius Smoriginas version of the ballet, just looked like a mixture of half-steps and nothing else. To the offending list one must also add Irma’s distractingly noisy shoes.

The first act ended with Fokine’s Le Spectre de la Rose, danced by the darling Yevgenia Obraztsova and Dmitri Gudanov. The story is very simple: a debutante who falls asleep after her first ball and dreams about dancing with the rose she has just received, until it escapes through the window. Here some soaring jetés and pirouettes en attitude thrown in by Gudanov, but Yevgenia not having much to do but waltz and smile prettily (it is not difficult to like her!). I am partial to other interpretations of this piece and dislike the male dancer’s pink wig, so I didn’t rate it as highly as other numbers in the gala. For those in the “pointe shoe watch”, here was the only time I thanked the ballet Gods for Gaynors as they were mute compared to Irma’s shoes, even if they didn’t look very nice in Yevgenia’s feet.

Igor Zelensky as Apollo. Photo: Tristram Kenton ©. Source: The Guardian.

After the interval we got Balanchine’s Apollo (his oldest surviving ballet) with NYCB’s Maria Kowroski as Terpsichore and Igor Zelensky (formerly with NYCB) as Apollo. The performance was flawless with Maria commanding the stage and making use of her long lines (so distinctive to see a Balanchine trained dancer against the more conventionally classical crowd) and Zelensky looking very god-like. My favourite part was when Maria was stretched across Igor’s back, arms wide open, it could have happily lasted for a decade.

A replay of last week Les Sylphides sans corps de ballet, came via Tamara Rojo and David Makhateli. Those of us who attended the Royal Ballet’s recent triple bill, had the opportunity to see the waltz played at a more appropriate tempo (Valeriy Ovsyanikov did the honours, with the Orchestra of the ENB). This piece suffers without the surrounding sylphs in perfect poses, but Tamara showed lightness, technical prowess (her balance as the music ends lasted forever) and a had a good rapport with Makhateli. Then Dmitri Gudanov re-appeared to dance an extract of Léonide Massine’s Le Tricorne (a good background article here) which captures its Spanish shades in the score and in colourful designs by that little known artist, Picasso. Gudanov managed to somehow deliver a bit of drama and stage presence against the odds of a very short extract and playback music.

Another (sort of) repeat came with The Firebird, with Mariinsky designs and dancers Irma Nioradze and Ilya Kuznetsov. Despite the solid dancing, I was  severely distracted by Irma’s acting. Geared up to compensate for the fact she wasn’t wearing the usual “Firebird” stage makeup, her facial expressions came across as weird or even worse, (gasp!) comedic. Next, Mara Galeazzi and Bennet Gartside from the Royal Ballet in Bronislava Nijinska’s (aka Nijinsky’s sister) Les Biches which does 1920’s chic with comedic flare in its depiction of rich people enjoying pool parties in the Mediterranean. Mara as the girl in blue, showed comfort in those bends and cooly flirted with Bennet’s character. It was quite enjoyable and a good appetizer for the next sizzler: Marianela Nuñez and Thiago Soares in the mother of all classics, Swan Lake. How is it that the evening’s hottest number was not an original Ballets Russes piece, you ask? Well, Swan Lake is a proven commodity. Even Diaghilev knew it. It is a masterpiece and that is why it still sells tickets and attracts audiences (for the record I am not advocating ballet Companies should do runs of 20+ Swan Lakes with not enough dancers to give it justice every night) while some of tonight’s pieces have fallen out of favour since they just don’t measure up to “the classics” or don’t stand the test of time.  What makes a classic? Maybe one should have a good look at Swan Lake, its long enduring appeal and see what lessons future generations of choreographers can learn from it.

Marianela Nuñez and Thiago Soares in The Royal Ballet's Swan Lake. Photo: Dee Conway ©. Source: BFI.

Back to Marianela, who was just incredible. She made Odille her own, poor Siegfried had no chance. It is amazing to witness how Marianela’s artistry has grown and how fresh she looked kicking those fouettées (singles interlaced with doubles and triples). Thiago’s Siegfried could only watch in awe and let himself loose into those treacherous arms. The house broke in thunderous applause and it was one of the loudest ovations I’ve heard recently (only Lopatkina’s below was equally loud) and Thiago graciously let Marianela take centre stage since she was the showstopper here.

Following this piece was going to be hard, but fortunately the gentle Le Carnaval brought some welcome contrast to calm our hearts and minds. Yevgenia Obraztsova returned from Spectre in a similar full-skirted costume portraying a well-matched Columbine to Andrei Batalov’s Harlequin. But the last real highlight and evening closer was the über famous Dying Swan. This quintessential gala piece can easily sway from over-the-top, unnecessary drama to plain corny and cliché. Not with Lopatkina. She was all fragility, beauty, sadness, elegance. The vision of what a melancholy swan should be. Her arms moved softly and her torso delicately bent over her waist really evoked the movements of a bird. The way in which the stage looked blue-ish and the spotlight barely fell over Ulyana, made the performance even more dreamlike. Judging from the crowd response she got, you would be hard-pressed to find anyone in the house not moved by her dancing.

Ulyana Lopatkina in the Dying Swan. Source: The Mariinsky Theatre via ExploreDance.com. Copyright belongs to its respective owners.

To sum it all up, the evening was a pleasurable experience and we were treated to some great performances and exposed to rarer pieces. In any case, it was a good reminder of how much classical dance owes to Diaghilev and his Ballets Russes.

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Since mixed reviews (including our previous opening night write up) have plagued the Royal Ballet’s celebratory “Ballets Russes Triple Bill”, I approached last Friday’s penultimate performance with a mixture of curiosity and excitement. By now, I thought, with most of the “nerves” gone and all the quirks fixed, it is not unreasonable to expect the dancers to be at their best.  I had also brought with me the ultimate tester for impact, a friend who had never been to a ballet performance. I was interested to see how she would gauge these ballets, given the stylistical differences between them.

The Royal Ballet in Les Sylphides. Photo: Johan Persson ©. Source: The Independent.

 

Les Sylphides started with Chopin’s Prelude in A (op 28) sounding wonderful, even if  a tad too slow in tempo. The curtains opened to show beautiful sylphs in pristine white Romantic tutus, standing in perfect poses. The cast was full of replacements: Johan Kobborg instead of Federico Bonelli as the Poet, Yuhui Choe instead of Alina Cojocaru and Helen Crawford replacing an indisposed Lauren Cuthbertson, as announced just before curtain up, so only one (Laura Morera) out of three sylphs had been originally cast. But all these cast changes did not detract and if Les Sylphides is supposed to evoke mood and display the beauty of dancing, I can happily report it did, thanks to Yuhui Choe and her sheer virtuosity: she was ethereal, vaporous and light. Her bourrées barely skimming the floor and her arms full of delicacy; her balances lasting for all eternity and her jumps with landings so soft that one could think she was floating. Yuhui’s artistry was so distinctive that when Laura Morera came in to dance the waltz, the jumps felt a bit heavy, the arms not delicate enough (although Laura’s innate musicality was evident in the phrasing of the steps. I still think of her as more of an allegro dancer). Helen Crawford was a slightly better fit for the Mazurka, but she still looked more like a maiden dressed as a fairy rather than a real spirit of the woods.

From left to right. Johan Kobborg, Yuhui Choe, Laura Morera and Helen Crawford. Source: ROH ©. Copyright belongs to its respective owners.

From left to right. Johan Kobborg, Yuhui Choe, Laura Morera and Helen Crawford. Source: ROH ©. Copyright belongs to its respective owners.

The corps de ballet were in great shape and although one would wish for a bigger display of ethereal qualities, which sometimes depend not that much on the dancing but on the dancer, every gesture and movement was precisely timed and positioned into the succession of dances. As the poet, Johan Kobborg gave a decent performance, his cabriolés a delight (pure Bournonville goodness), but I felt this was not a role he relishes and in all honesty it does not play to his strengths.

One thing that bothered me in Les Sylphides more than the slow tempo (for at times the music did speed up) was the strong lighting which prevented us from  experiencing the eeriness of Benois’ design of ruins in a dark forest. I longed for a darker stage with only the light on the white of the tutus (a suggestion of moonlight) allowing for a glimpse of the ruins and the surrounding trees.

Next in the programme was Alastair Marriott‘s Sensorium, a strikingly contrasting work, even though the inspiration behind it somehow resembles that of Les Sylphides. Marriott wanted to give a choreographic response to Debussy’s preludes in the same way that Les Sylphides is Fokine’s response to Chopin’s orchestral suite. As I wasn’t aware of which particular preludes were going to be used in performance, I decided to just try and make the “sensory associations” that Marriott wants from his audience.

Senso

From left to right. Thomas Whitehead, Leanne Benjamin, Rupert Pennefather and Alexandra Ansanelli. Source: ROH ©. Copyright belongs to its respective owners.

In a midst of extensions, contortions and twists against a backdrop of salmons, blues and nudes, there were moments in Sensorium in which the choreography suggested images of wind, sea and sand. In particular, there were two pas de deux, the first with Rupert Pennefather and Alexandra Ansanelli (who is retiring at the end of this season) and the second with Thomas Whitehead and Leanne Benjamin. Both were well matched pairs, with Rupert faring quite well in a non-danseur noble role supported by the gorgeousness of Alexandra’s extensions. Leanne and Thomas presented more of a passionate “twisting and turning” pas de deux that was very enjoyable and contained some classical steps amidst the unusual shapes. The last prelude incorporated all the dancers and had the main couples surrounded by blue bodies moving as if they were waves in the sea (in something that resembled yoga’s downward dogs!), the peach background evoking a windy sunset. This was probably my favourite “sensation” from Marriott’s choreography. The downside is that nothing in the ballet is particularly memorable (with the exception of Colin Matthews’ Debussy’s orchestrations) so I see this ballet being probably revived a couple of times before fading away.

The Royal Ballet in The Firebird. Photo: Dee Conway ©. Source: The Guardian

I did not have high expectations for the last piece with Roberta Marquez cast as “The Firebird” as she does not rate very high on my personal board of favourite dancers. However, not only did she prove worthy of her principal dancer status, she was literally on fire: her jumps were athletic (quite a big jumper she is!), her turns were flashing. Her hands expressive and her gestures spot on at all times. Trapped by Ivan Tsarevich, you could see the Firebird’s surprise and despair on her wings, how she tried to free herself. In fact, Marquez and the ever awesome Gary Avis as the Immortal Kostcheï were the highlights of the performance. First Soloist Valeri Hristov danced the part of Ivan, a bland role that doesn’t require much from the male dancer, so it is hard for me to evaluate him. The corps and members of the Royal Ballet School were good as the various creatures in the final scenes and the designs and costumes are something to be admired on their own. However, it occurred to me that this piece would be better placed with other narrative ballets rather than abstract pieces, given that it’s so rich in mime and huge dramatic ensemble scenes.

Fire

From left to right, Valeri Hristov, Roberta Marquez and Gary Avis. Photo: ROH ©. Copyright belongs to its respective owners.

All in all, in this Triple Bill the Royal Ballet came up with a good display of dancing which more than honours the memory of Diaghilev: variety of styles, great dancers and music, which makes it great for newcomers: my friend loved Les Sylphides and was mesmerized by the images it created. She also found Sensorium to be interesting and contrasting. However, she felt let down by the Firebird, in the sense that she was not expecting so much theatricality to be served up last, after the abstractions of the previous pieces. For me, that summed up what a good triple bill should be about, a treat for everyone. For me? This triple bill was certainly not perfect, but it had its moments.

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Ondine

Is this ballet for you?

Go if: You are an Ashton fan. You have a keen eye for demanding technique, quick steps and plenty of characterisation in dance. You like stories involving fantasy femmes fatales, mermaids and ill-fated romances, especially those with a Victorian edge.

Skip if: You can’t put up with a difficult non-melodic score. Hans Werner Henze’s modernist music, tailor made to resemble a continuous flow of water & spray of the sea throughout the ballet has been a hard sell with many, including Ashton himself.

Dream Cast: Tamara Rojo.

Tamara Rojo and Edward Watson in Ondine. Photo: Dee Conway ©. Source: The Observer.

Ondine is a 3 act ballet originally created by Sir Frederick Ashton as a vehicle for Margot Fonteyn. The ballet, like the Opera “Rusalka”, is loosely based on Friedrich de la Motte Fouqué‘s novella “Undine”. Ondine is the only Ashton ballet choreographed to specially commissioned music and where Ashton worked in close proximity to the composer, Hans Werner Henze, providing him with plenty of notes and details on precise timings for steps. The costumes and designs by Lila de Nobili evoke the 19th century romantic classics such as Giselle against a maritime backdrop, think “La Sylphide under the sea”.

When it premiered, the critics hailed Fonteyn but expressed reservations against the music. The audience’s difficulty in connecting with the work also had to do with the fact that Ondine is more concerned with generating a mood and trying to replicate the feeling of water in dance, than with telling a straightforward story (although there is plenty of symbolism for the smart ballet goer to reflect on). It has little pyrotechnics to generate thunderous applause and plays to the lyrical strengths of the main ballerina in its fluid choreography and aqueous motifs. Ondine is a substance vs. form ballet, its subtlety might not appeal to everyone’s tastes but it’s a work which shows Ashton at his most avant-garde: its continuous undertow of dance was probably a major influence for Kenneth MacMillan‘s own seamless (& mime-less) choreography later on.

See below a short video where ballerina Tamara Rojo and veteran ballet critic Mr. Clement Crisp talk about the story, the music and motifs in Ondine:


The Story:

Ondine is a water sprite (or nymph) who emerges out of a waterfall onto land fascinated with her own shadow, something she had never seen before. She is observed by Palemon, a mortal man, who is completely entranced by her innocence and gentle manner of playing and marvelling at the sight of this shadow. Realising she is being observed, Ondine is at the same time drawn to and repelled by the human figure of Palemon, especially when she feels his heart beat (as water sprites have no hearts or souls). Dancing a beautiful “watery” pas de deux where Palemon tries to grab and hold slippery Ondine, they fall in love and decide to marry.

Before her marriage Ondine is warned by her uncle Tirrenio, Lord of the Mediterranean sea, that marrying a mortal and thus acquiring a human soul is against a water nymph’s nature and potentially fatal, should Palemon ever betray her. Ondine decides to ignore Tirrenio’s warning as she loves and trusts Palemon to be faithful. Little does she know that Palemon has broken a previous engagement to mortal Berta in deciding to marry her.

Palemon and Ondine get married and set out on a boat trip. A terrible storm unfolds caused by Tirrenio to force Ondine to return to the sea. She is lost overboard and Palemon, having survived the shipwreck and believing Ondine to be forever lost to him, ends up marrying Berta.

On the day of their wedding heartbroken Ondine reappears before a perplexed Palemon. Meanwhile, Tirrenio exerts revenge against the new couple by bringing destruction to the palace and to all of Palemon and Berta’s guests. It is then that Palemon realises his betrayal and the price he has to pay: he longs to be reunited with Ondine and tries to kiss her but when their lips finally meet, he dies. The ballet’s final Victorian looking tableau shows a grief stricken Ondine watching over Palemon’s lifeless body which she has dragged under the sea as an eternal keepsake.

Ondine is part of The Royal Ballet’s Summer Season from the 27 of May – 6 of June, with Alexandra Ansanelli, Miyako Yoshida and Roberta Marquez in the principal role.

Mini Biography:

Choreography: Sir Frederick Ashton
Music: Hans Werner Henze
Original Design: Lila de Nobili
Original Cast: Margot Fonteyn, Michael Somes and Alexander Grant.
Premiere: 27 October 1958, Covent Garden, London.

Sources and Further Information:

  1. Dance Review by Roslyn Sulcas at the New York Times. Dec. 5 2008 [link]
  2. Wikipedia entry for Ondine (Ashton).
  3. Water Magic by John Percival. Danceviewtimes, 2005.
  4. Ballet.contexts. Facts about Ondine at ballet.co. Written by Jane Simpson, 2005.
  5. An excellent article by Alastair Macaulay about the symbolism of water creatures in ballet and opera.

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