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Posts Tagged ‘Johan Kobborg’

A while ago we wrote about the joys of seeing different casts in the same ballet.  While classics such as The Sleeping Beauty do not leave much room for highly individual interpretations of the central roles they still provide an interesting study of technical and artistic abilities of different ballerinas. In that spirit we took advantage of a mammoth run (8 principal casts & countless performances between October & January this season) to watch 5 different Auroras and Prince Florimunds in the Royal Ballet’s exquisite production.

Alina Cojocaru as Princess Aurora, Elizabeth McGorian as the Queen and Christopher Saunders as King Florestan in The Royal Ballet's The Sleeping Beauty. Photo: Bill Cooper / ROH ©

Rather than bore our readers with details of each of these equally stunning performances (although we did write about “guest of honour” Obraztsova back in Nov) we thought we’d do something different. Last season we drew inspiration from PJ Harvey’s romantic indie rock to write a Giselle & Albrecht roundup; we now look at the dancers’ styles and align them with some of our favorite fashion designers. Thus, in order of performance:

Alina Cojocaru + Johan Kobborg = Vintage Balenciaga

Forget Nicholas Ghesquière’s sacrilegious reinterpretation of this emblematic fashion house. We’re thinking Alina & Johan’s Sleeping Beauty has the same grandeur as Cristóbal Balenciaga’s original designs of the 50’s: superbly cut dance, rich in accents, clear in steps. Alina’s Rose Adagio is a thrilling display of how artistic maturity can make the impossible seem easy. One marvels at how she – whilst balancing on pointe – lowers her arms so slowly to take each suitor’s hand; or at the way she alternates her port de bras while zipping through piqué turns. It all looks as easy and effortless as Balenciaga’s illustrious cape. And this most elegant of Auroras has the lucky draw of Kobborg’s perfectly tailored prince, the most attentive of partners.

Yevgenia Obraztsova + David Makhateli = John Galliano for Dior

Like Dior’s maverick designer Obraztsova and Makhateli showed an incurably Romantic streak in their rendition of Sleeping Beauty. Softly touching the Prince in the Act II vision scene as if to tease him (the only Aurora to do this), Obraztsova creates a dreamy, young love mood. This is a pairing which was never too flashy or too daring, opting instead for polished dancing combined with Romantic touches like Dior’s perfectly cut, well structured taffeta gowns. Further reading here.

Roberta Marquez + Steven McRae = Marc Jacobs

This was a fun performance to watch. Young, bold, colorful just like the US fashion designer who gives traditional fashion cut a modern twist. We particularly loved the way this pair told the story: Marquez’s totally likeable, coquettish & sure-footed Aurora gradually melting the heart of McRae’s spoiled Prince. His passionate temper spoke volumes in the most exciting Act III variation we have seen over the last two seasons of Beauty.

Marianela Nuñez + Thiago Soares = Versace

In the same way Versace is all about female empowerment, plunging necklines, sparkling fabrics and vertiginous cuts, so is Nuñez’s Beauty. She is radiant: her dancing razor-sharp, her Act II variation lush and sinuous. The wedding in Act III is a grandiose event where a fully grown, very womanly Aurora confidently takes centre stage. Soares was her fairytale Prince, handsome in posture and completely spellbound by this princess-goddess.

Tamara Rojo + Rupert Pennefather = Prada

This was a très chic Sleeping Beauty. Rojo & Pennefather’s polished reading for Aurora & Florimund seems cut in the same symmetrical minimalism – not a pleat in excess or out of place – as garments from this very stylish Italian fashion house. Any Auroras out there with a penchant for ultra-extended développés à la seconde (more on the evolution of this ballet step here) should watch Rojo’s demonstration of how “less is more” in classical ballet. Her balances are now the stuff of legends and her pure, classical style, so admired by Mr. Clement Crisp, is well matched by Pennefather’s danseur noble Florimund. His Ashtonian solo during the vision scene is an eloquent counterpoint to Aurora’s own Rose Adagio. While this is not the pair for those who need their romance with extra layers of pink, you could not wish for a more regal and musical Act III wedding pas de deux where Rojo’s trademark travelling fouettées in the coda are the bonus.

Clockwise from left: Vintage Balenciaga, Dior by Galliano, Versace, Prada, Marc Jacobs (img sources: V&A, Style.com, Stylehive, Coutorture)



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It’s been over 2 years since Alina Cojocaru danced a MacMillan ballet at Covent Garden. While the public in Washington DC and Havana were able to see her Manon last summer, Londoners who had been dreaming of seeing her in Mayerling at the start of the autumn season had to hold their breaths a little longer and await her return to MacMillan in the role of Juliet, the very same role she had danced in the autumn of 2007.

Alina Cojocaru and Johan Kobborg in Kenneth MacMillan's Romeo and Juliet. Photograph by Elliott Franks ©

The wait was most definitely worth it. If before her Juliet was moving, now she is heartwrenching. She has matured the role, refined it, added nuance and experience, less the innocent teenager more the tragic outcast, headstrong-yet-vulnerable girl transformed by love. These qualities are evident, for instance, in the scene where Juliet, already secretly married to Romeo, tries to challenge her parents as they impose the nobleman Paris on her.  As she tries to fight back, throwing her fists at the father, pleading to the mother, the realisation sinks in that she is alone in this, her whole body expressing the humiliation Juliet has suffered.

Whereas 2 years ago she might have played the scene where Juliet hides under the covers with a slight hint of comic relief now it looks like desperation, the will to disintegrate and not have to deal with an impossible situation, grief written in her face.  This time few in the audience were chuckling.

Alina Cojocaru as Juliet in Kenneth MacMillan's Romeo & Juliet. Photograph by Elliott Franks ©

The other pivotal moment in Alina’s interpretation comes when she discovers the lifeless Romeo in the Capulet tomb, her desperate howl of pain – albeit silent – is louder than Prokofiev’s sublime score. Her last gesture slowly motioning at the faint light above the tomb suggests the hope at a reunion with Romeo in heaven, almost as if she can already see their souls transcending.

While Johan Kobborg might not be my dream cast Romeo he is unquestionably a perfect partner for Alina’s Juliet. If technically her Juliet was arguably on better form than his Romeo, when they dance their bodies move lyrically as one, in full sync. Together they delivered a balcony scene full of passion and romantic abandonment, as if they had no other care in the world. They are well matched in temper too, Johan’s headlong Romeo seeming like the kind of guy who would really drop everything in his life once he fell head over heels in love. The extent of his impassioned nature is also very convincingly portrayed after Mercutio’s death, guilt reaching boiling point as he rushes towards Tybalt to retaliate.

Johan Kobborg as Romeo and Alina Cojocaru as Juliet. Photograph by Elliott Franks ©

With a strong supporting cast full of wonderful performances, from Brian Maloney’s limber, handsomely cast Mercutio, Bennet Gartside’s chilling Tybalt (his death scene one of the most poignant I have ever seen) to Laura Morera’s unparalleled Harlot and Sergei Polunin’s stylish lead Mandolin this is really a performance not to be missed. This same cast is performing again next Wednesday and I would urge those still thinking about it to beg, borrow or steal a ticket.

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Triple bills are a great opportunity to discover rarer ballets along with new works, an essential ingredient in preserving the future of this art form. The Royal Ballet’s latest features a modern and sizzling combination well suited to those seeking refuge from an evening of tutus and tiaras.  It opens with Agon, Balanchine’s iconic work in collaboration with Stravinsky and follows with Glen Tetley’s Sphinx, originally created for American Ballet Theatre (ABT) and newly acquired for the company. The bill closes with Wayne McGregor‘s new ballet, Limen, successor to his previous works Chroma and Infra.

Ed and Melissa in Limen

Melissa Hamilton and Edward Watson in The Royal Ballet’s Limen, choreographed by Wayne McGregor. Photo: Bill Cooper / ROH ©

Even if modern is not your thing, the genius concept behind Agon merits a visit. Balanchine built it from the interplay between 12 dancers and combinations of patterns and shapes. It demands pristine technique and inherent musicality to sustain the choreography. The steps are akin to those every dancer executes in class but here they do so with a twist (e.g. exaggerated arabesques) and at an incredibly fast tempo. It is always interesting to see the Royal Ballet tackle this type of abstract work because of their dramatic tradition and natural bond with the Ashton and MacMillan repertory. In their hands Agon goes beyond the exploration of movement and amalgamation with music (or its realisation in choreographical terms) and you sense at times they are trying to convey a string of short episodes.

The first cast includes up-and-coming soloists (Yuhui Choe, Hikaru Kobayashi and Brian Maloney) alongside established principals Carlos Acosta and Johan Kobborg and rising star Melissa Hamilton,  fresh from her MacMillan debut as Mary Vetsera last week. The leading men (Acosta and Kobborg, plus Valeri Hristov and Brian Maloney) make Agon’s tricky footwork sequences and off-centred positions look easy, though Daniel Capps‘s conducting seemed to be going against them towards the finale. The ladies were led by Mara Galeazzi, a charmer in the Bransle Gay and by Melissa Hamilton, in the pas de deux with Acosta. 21 year-old Melissa seemed entirely at home in the intricacies of the pas de deux, sinking into a penché so deep that her nose touched the knee as if it were no trouble at all. It was inspiring to see her unique blend of suppleness and elegance contrasting the earthy quality of Acosta’s partnering.

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Rupert Pennefather and Marianela Nuñez in Tetley’s Sphinx. Photo: Bill Cooper / ROH ©

Tetley’s Sphinx fits the company and this particular cast of dancers as snugly as their bodysuits. It must be quite a challenge to balance Tetley’s high-powered choreography with the characterization of each role but Edward Watson‘s acid orange Anubis dazzles and threatens with swirling diagonals while Rupert Pennefather, looking every inch the greek hero, partners solidly. The heart of the ballet comes in the shape of Marianela Nuñez as the Sphinx who risks her life in exchange for a promise of love, and who is ultimately betrayed. She initially appears dominant and powerful, with arms that recalled an elegant bird of prey, but after she whispers the answer to  her own riddle to Pennefather’s Oedipus she changes into a hopeless, defeated creature who now embraces mortality. Sphinx might not be everyone’s cup of tea (its costumes and designs look more Studio 54 than ballet) and those not familiar with Jean Cocteau’s take on Oedipus will be left scratching their heads. We like it, not only for the literary souces, but for its athleticism and this particular cast’s foolhardiness in performing this exhausting piece brilliantly in three consecutive days.

Ed in Sphinx

Edward Watson as Anubis in Glen Tetley's Sphinx (with Marianela Nuñez and Rupert Pennefather in the back). Photo: Bill Cooper / ROH ©

McGregor’s Limen is centred around the themes of life and death, light and darkness and the thresholds in-between, to align with Kaija Saariaho‘s cello concerto “Notes of Light”. Again McGregor taps strongly into technology, via Tatsuo Miyajima‘s designs and amazing lighting by Lucy Carter, to set the mood for the various movements in the music. Limen features a cast of 15 dancers, including many of his regulars.

The choreography stays true to McGregor’s trademark quick movements, contortions and extensions, although since Chroma he has been progressively softening his edgy dance language. There are also nods to previous ballets Agon and Sphinx (e.g. the iconic Agon attitude wrapping the man and the pirouettes with arms à la Sphinx) and, as such, Limen might be McGregor’s own version of a Balanchine ballet: what we are seeing really is a representation of the music and its subliminal message of light against darkness.

Limen opens with a translucent curtain in which numbers are projected, representing the passage of time. The cello’s voice cues in the orchestra  and behind the curtain we see Edward Watson mirroring the music and slowly moving through extensions while new dancers start to emerge  to match the remaining instruments. The second movement is led by Steven McRae and an ensemble of dancers, who become “alive” as they enter a colourful square of light. The orchestra takes over and energetically fights the cello, serving as a backdrop for McRae’s remarkable solo, which combines McGregor’s language with classical vocabulary.

Sarah and Eric in Limen

Sarah Lamb and Eric Underwood in The Royal Ballet’s Limen, choreographed by Wayne McGregor. Photo: Bill Cooper / ROH ©

Classical dance fully inhabits the third and fourth movements and their lyrical pas de deux. Marianela Nuñez and Brian Maloney echo the brief harmonious dialogue between the cello and the orchestra, while Sarah Lamb and Eric Underwood represent Saariaho’s cello eclipse. As Underwood embraces and lifts Sarah, she folds her body in every possible way (with the costumes and dark lighting enhancing the effect) to the fading sound of the instrument.

The final movement is a return to the light, symbolised by a panel of blue LED lights which loom over the dancers now dressed in flesh coloured leotards. Watson carries the emotional baggage of the movement, once more showing his wonderful use of extension. The ballet (or is it the music) ends with a question, as the cello sings its last note (a very high F sharp): have we reached the heart of light or are we back into darkness? The dancers face the back of the stage and the lights dim, Watson the only dancer who stands at a threshold between this ensemble and the front of the stage. Once again McGregor has delivered a keeper, perhaps even a natural conclusion to the trilogy that started with Chroma (Chroma is the absence from white, while Limen might be the absence of colour). It has become clear that he is now more comfortable with classical vocabulary and could be interesting to see what choreographic surprises he might throw at us from now on. We can’t wait.

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Our Mayerling crusade continues with new casts, some debuts and thus interesting new takes on MacMillan’s iconic characters. There are very few lead roles that challenge a danseur’s technique, stamina and dramatic skills as does Crown Prince Rudolf and for Rupert Pennefather to have been offered the opportunity to dance it at such young age is a testament to the company’s trust in his abilities. It takes time to develop a character such as Rudolf. Interpretations such as the ones given by Edward Watson and Johan Kobborg earlier on were mature and full of subtleties, each of these dancers presenting the choreography under a new light: Watson emphazising his extensions to dramatic advantage, Kobborg fleshing out his innate musicality (our take on these previous performances [here] and [here]). Up until now Rupert has been cast in roles that fit his danseur noble physique, so with only one scheduled performance of his second full-length MacMillan role (the first having been Romeo) this was a much needed chance to extend his range as a Principal dancer.

MAYERLING.RB.7-10-2009

Rupert Pennefather and Melissa Hamilton in the Royal Ballet's Mayerling. Photo: Bill Cooper / ROH ©

We were again reminded of MacMillan’s amazing ability to show us characters and feelings that are real, each dancer having to find his own motives in portraying the lead role. Pennefather’s Rudolf is initially presented as a stressed heir. Product of an environment where decisions are made for him, the adult Rudolf has remained a spoiled child who longs to be behind his mother’s skirt. This juvenile angle works well for Rupert, not least because of his own young age. Rudolf seems particularly vulnerable in the Act I scene with his mother Empress Elizabeth, whom he sees as a model against which to measure all other women. He relishes being around the strong types (Larisch and Mary), despising those he perceives as weak (case in point, Princess Stephanie).  Technically Rupert was poised and clean, despite some early struggles with the phrasing in Rudolf’s particularly demanding ballroom solo. His various pas de deux were outstanding, his partners fueling his characterization, the dancing more relaxed and fluid. The remarkable last pas de deux in Act 3 looked as good as any other in the run, in no small part due to Rupert’s chemistry with an amazing Mary Vetsera (Melissa Hamilton).

Even though Mayerling is all about the male lead, Rupert’s debuting leading ladies must also have their share of praise. First Artist Melissa Hamilton was a highly anticipated Mary Vetsera. Her beautiful extensions and her supple body have made her a highlight in modern one-act ballets such as McGregor‘s Infra (where she created a role), Wheeldon‘s DGV and Marriott‘s Sensorium. Regulars were curious to see her bridge the gap between this modern niche and the classical repertory. Cast as Mary ahead of several more experienced dancers, Hamilton’s interpretation was very secure. She sparked Pennefather’s Rudolf in such a way  as to make their scenes together not just the evening’s highlight, but a memorable event at Covent Garden. We hope to see more great things from her soon (on that note, next week we get to see her in Limen opposite Edward Watson).

MAYERLING.RB.7-10-2009

Rupert Pennefather as Crown Prince Rudolf and Melissa Hamilton as Mary Vetsera in Mayerling Photo: Bill Cooper / ROH ©

The always sharp Marianela Nuñez as the sultry Countess Larisch proves how broad her range is, shifting gears from the sunny Lilac Fairy of last Friday into manipulative vixen here.  It is redundant to praise Marianela for her flawless technique, therefore we can focus on the strength of her characterization as the passionate mistress who has a boy to keep her entertained while scheming and plotting to amuse herself in the Austro-Hungarian court. She was particulary insidious when feeding Mary’s fantasies about Crown Prince Rudolf.

Among the youngsters, the graceful Elizabeth Harrod was an effective Princess Stephanie and Brian Maloney looked poised and charming as Bratfisch. As  for the Hungarian Officers, it was good to see Ludovic Ondiviela as one, while Sergei Polunin has become pure sharpness punctuated by technical wizardry (e.g. an impressive series of three double tours en l’air) as their lead. This was a Mayerling in which to admire the company’s deep pool of talent in fresh new opportunities. Hopefully it won’t be long till we get to see Pennefather’s Rudolf and Hamilton’s Mary Vetsera again.

The Royal Ballet’s Mayerling is in repertoire until November 10. Book via the ROH website, by telephone or by visiting the Box Office.

For more on Mayerling, Kenneth MacMillan’s Choreographic Imagination and Psychological Insight Symposium will be held on November 8, 2009 at Imperial College London, as part of Kenneth MacMillan’s 80th Anniversary Celebrations. For more information visit www.kennethmacmillan80thanniversary.com

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Mayerling may not  be for everyone, but it is an undeniable example of how ballet can go beyond technical prowess or fairy-tale narrative, geometrical patterns or musical convention. Kenneth MacMillan’s work reaches for the core of human emotions, both the good and the bad, digging deep into the grittiest, the most horrific and perverse of human psyche to turn it into ballet, an art form usually associated with qualities of beauty and harmony. Unsuspecting audiences may be distraught by his choreography, by such an explicit portrayal of the perverse and sinister within men against the various forms of love.

Beyond its lavish designs and opulent costumes which aid in framing a decadent society and its excesses, the ballet largely depends on a strong lead, as its focus is the character of Crown Prince Rudolf. The fact that no one knows what really happened in the event known as the Mayerling incident is not very important for the purpose of MacMillan’s ballet. I now see that the incident only served as a canvas on which he could draw his characters and frame their specific interrelations. Rudolf, a character so shrouded in mystery, presents to the  male dancer an opportunity to create a very individual reading. For this reason it demands mature dancers at the height of their dramatic and dancing powers, dancers who can generate a realistic impression, which is something Johan Kobborg excels at.

Mayerling Cast. From left clockwise. Leanne Benjamin as Mary Vetsera, Johan Kobborg as Crown Prince Rudolf, Laura Morera as Countess Larisch, Deirdre Chapman as Empress Elizabeth, Helen Crawford as Mitzi Caspar and José Martín as the lead Hungarian Officer. Source: ROH ©. Copyright belongs to its respective owners.

Mayerling Cast. From left clockwise. Leanne Benjamin as Mary Vetsera, Johan Kobborg as Crown Prince Rudolf, Laura Morera as Countess Larisch, Deirdre Chapman as Empress Elizabeth, Helen Crawford as Mitzi Caspar and José Martín as the lead Hungarian Officer. Source: ROH ©. Copyright belongs to its respective owners.

Presenting us with an innermost portrayal of Rudolf that heavily contrasted with all other readings of the character I’ve seen before, Kobborg emphasises the darkness his character carries inside, the willingness to carry through unimaginable deeds. Right from the start we see how he is afftected by the particular demands and pressures of his position as Crown Prince and by his incestuous relationship with a domineering mother. We also note Rudolf’s violent behaviour when in contact with Countess Larisch (a well cast Laura Morera) and his wife Princess Stephanie (Emma Maguire), but the way he quickly regains self-control hints at something inherent to Rudolf’s character which he tries to keep “in check”. The pas de deux with Empress Elizabeth (Deirdre Chapman) clearly establishes the twisted relationship between mother and son and shows how Rudolf could be both abusing and abused. The weight of this encounter still looms over the following pas de deux as a twisted and psychopathic Rudolf threatens his wife Princess Stephanie with a pistol on their Wedding night.

Johan Kobborg as Crown Prince Rudolf in Mayerling. Photo: Bill Cooper / ROH © Source: Voice of Dance

Johan Kobborg as Crown Prince Rudolf in Mayerling. Photo: Bill Cooper / ROH © Source: Voice of Dance

Rudolf  has given into a life of “alcohol and whores at the tavern” but when it comes to his mother’s own love affair, he takes issue and reacts as an offended lover. As he dances a solo which speaks of the guilt for those feelings towards his mother, he struggles to keep his inner demons at bay, his steps conveying despair and even horror at his own feelings as Countess Larisch tries to comfort him. It is at this point that Mary Vetsera enters the picture and raises the stakes.  Few can project all of Mary’s complexities like Leanne Benjamin. Her Vetsera is a joyous girl destroyed by the romantic obsession she builds once fuelled by Larisch’s stories about Rudolf. From their first meeting we see someone who is capable of loving him, albeit in a twisted, sick way. Kobborg’s Rudolf sees Mary as just another woman at first, but once she rushes for his gun and points it towards him, his dark side resurfaces  and obsessive feelings surge towards her. Needless to say, both Kobborg and Benjamin delivered a pas de deux full of passion playing with the concept of control and role reversal between these two twisted minds.

By the final act, following an accidental killing at his hunting lodge, Kobborg’s Rudolf is a shattered, broken man who is a shadow of himself and now allows the darkness inside to flow, his body ravaged by mental and physical disease. Since the script simply indicates that Mary and Rudolf made a pact to end their lives, what really happens between them greatly varies with each interpretation. In this reading it seemed to me that as Mary arrives at the hunting lodge she realises that the only way to heal Rudolf is to die with him, while for Rudolf killing her is both an act of selfishness and of salvation from his inner feelings towards her. As they dance a deeply upsetting final pas de deux our minds question whether this disturbed and horrible person could really have had any capacity to love.

With great performances, despite a few start of season glitches, from a  strong supporting cast including Laura Morera as Countess Larisch, Helen Crawford as Mitzi Caspar and José Martín as the lead Hungarian officer much added to the evening’s drama, but all in all, Mayerling will always be about the lead and here Kobborg more than delivered.

See also: our take on the Edward Watson/Mara Galeazzi cast

The Royal Ballet’s Mayerling is in repertoire until November 10. Book via the ROH website, by telephone or by visiting the Box Office.

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Kim Brandstrup. Copyright belongs to its owners. Source: GBCM

While at the main stage the Royal Ballet season kicks off in October with Mayerling, downstairs at the Linbury Studio the ROH2, Royal Opera House’s contemporary arm, makes a headstart next week with an exciting new collaboration between dancers Tamara Rojo, Thomas Whitehead, Steven McRae and choreographer Kim Brandstrup. Then, later in the season, Brandstrup goes back to the main stage for a repeat of his acclaimed one act ballet, Rushes – Fragments of a Lost Story. Based on  one of the preliminary outlines for Dostoevsky’s novel The Idiot and influenced by socialist realist movie aesthetic, the ballet furthered his range as a leading narrative choreographer.

With Brandstrup’s film school background it was natural that a ballet called Rushes (the name refers to raw, unedited film scenes) should contain all forms of reference and reverence to cinema, with its non linear narrative and action that takes place behind beaded curtains, just like a grainy movie from the 30’s. Movie-like structures are something of a leitmotif in his works, and in the past he has spoken of his rejection of classical ballet’s literal or linear plot development as compared to “film cuts” (see “in his own words” below). However, Brandstrup’s forthcoming Goldberg project with Tamara Rojo seems an altogether different proposition, an experiment with  “other ways of moving”, using Bach’s Goldberg Variations and drawing subtleties and “things  that go unnoticed in big stages” to the intimacy of the Linbury Studio. More information on this project can be found in a recent interview Brandstrup gave to dance writer Jane Simpson now posted to Ballet.co.uk.

Kim Brandstrup in a Nutshell

Born in Arhus, Denmark in 1956, the son of a contemporary artist, Kim attended a progressive school which encouraged creativity. He initially studied film at the University of Copenhagen, but switched to modern dance studies at age 19.

He moved to London in 1980 to study at the London School of Contemporary Dance where Nina Fonaroff was his teacher.

Kim founded his own company, Arc, in 1985 (Arc is currently in the backburner but he plans to bring it back, not as a full time company but on a project by project basis).

In 1989 he won the Olivier award for “Outstanding Achievement in Dance” with Orfeo, a piece he choreographed for the now extinct London Contemporary Dance Theatre.

The cinema never ceased to be an influence in his work, along with literature. Kim worked with Irek Mukhamedov on a commission of Othello (winner of the London Evening Standard Award for Most Outstanding Production) and created for his own company pieces such as Elegy which drew on characters from The Idiot and later Elegy’s enlarged version (Brothers) inspired by two other Dostoevskian tales.

He has choreographed for the Royal Danish Ballet, the Rambert Dance Company, English National Ballet, Birmingham Royal Ballet and other companies in the UK and abroad.  He has been working with the Royal Ballet since 2003, having created dances for principals such as Carlos Acosta, Tamara Rojo, Zenaida Yanowsky, Leanne Benjamin, Steven McRae, Laura Morera, Alina Cojocaru and Johan Kobborg.

Kim also works regularly with opera directors. One of his best known collaborations in this field was with director Phyllida Lloyd for Debussy’s one act opera “The Fall of the House of Usher”, where he choreographed the opening sequence featuring four dancing doubles of the opera characters, as performed by Steven McRae, Gary Avis, Leanne Benjamin and Johannes Stepanek. (This 2006 production is available on DVD).

He says his creations are triggered by the dancers he works with even if the music, theme or narrative have been chosen well in advance. For him, being in the studio with a particular dancer transforms a piece from concept to reality, tailoring the movement to their particular strengths and characteristics.

For Rushes he chose a rare, unpublished Prokofiev movie score (composed for a shelved film adaptation of The Queen of Spades) which he tracked from a tiny footnote in an article mentioning the score’s existence, liasing with a Princeton scholar and finally finding a copy in the Prokofiev archives at Goldsmiths College. What attracted Brandstrup was the structural freedom it gave him, the music was meant to be played underneath a dialogue so it was done in short, concise numbers.

In his own words:

Everyone says I have done narrative ballets but I have never tried to use narrative in a traditional way

My preparation is not steps, not even a story. I listen and listen until the music has become second nature, it has to be in the bloodstream.

The dancers are the second ‘given’ when you work with an established, full-time company. First there is the music, the theme, the place in the programme, which is stipulated when you are first asked, then comes – and this is the most important – the dancers. If they don’t inspire you, then you can’t do it, no matter how prestigious or exciting the project might be.

In a ballet you have a location and people acting in it in real time – 45 minutes in a castle, 45 minutes in a forest, 45 minutes at a wedding.” Whereas in film one event cuts to another and time is not literal.

When I studied film, everything that I loved about it was not verbal, it was the silent films. And when you look at a director like Hitchcock you’ll find that 60 or 70 per cent is purely visual and it’s through the images that the story is told.

She’s a remarkable artist she has such focus and power on stage which gives her a real dramatic hold over an audience. (on Tamara Rojo)

Extract of Reviews and Selected Praise:

Of his Two Footnotes to Ashton, Linbury Studio

Brandstrup’s bucolic Two Footnotes to Ashton is particularly captivating, a frolicsome and erotic footnote to La Fille mal gardée, with Johan Kobborg as a bare-chested, very surprised yokel on whom Alina Cojocaru insistently pounces like a tiny little cat on heat. Everything about this duet is seductive – the recording of Cecilia Bartoli at her most irresistibly honeyed in Gluck’s “Di questa centra in seno”; the way Cojocaru sexily nudges dopey Kobborg with her head and then unleashes lethal vertical arabesques; and the final sweetness of his succumbing, holding her hovering body over his in a delicious anticipation. A total charmer, truly Ashtonian, and surely likely to reappear for the pair on gala occasions. Ismene Brown at the Telegraph [link]

It was Kim Brandstrup who lived up to the evening’s title. His Footnotes was set to ravishing arias (Gluck, Handel), ravishingly sung by Bartoli and Kozena, ravishingly realised (Cojocaru and Johan Kobborg pouring out feeling as a whirlwind of turns and poses; Zenaida Yanowsky grieving wonderfully), and ravishingly made. Clement Crisp at the Financial Times [link]

Of Pulcinella, Birmingham Royal Ballet

Cleverly, Brandstrup depicts Pulcinella as a puppet who has somehow slipped his strings, a giddy, quivering creature who alternates between blithe enthusiasm and doleful despair, and who can only just hold on to his spiky, streetwise girlfriend Pimpinella (Ambra Vallo). Some of his best writing is for these comically ill-assorted lovers, especially their wrangling duets in which tiny Vallo seems to batten on to [Robert] Parker’s body, her railing fists and flick-knifing limbs wheeling vociferously around him. Judith Mackrell at The Guardian [link]

Of Rushes

Acosta is caught in furious, impassioned dialogue with Morera (both artists grandly expressive) while there are appearances by Cojocaru as a compassionate “other” woman. Brandstrup’s writing is fluent, dark in tone for the Acosta/Morera partnership, the couple repeating with each new “rush” aspects of emotional turmoil that we have seen before. Cojocaru seems at first an observer (like the corps de ballet who inhabit the penumbra at the back of the stage). But Brandstrup has shown himself in past works to be an emotional optimist, and the final “rush” is an ecstatic duet for Cojocaru and Acosta which suggests an assertion of possible happiness. Here is a fascinating (and visually very stylish) ballet that will repay further viewings. I hope to return to it, and the rest of this triple bill, after a later performance. Clement Crisp at The Financial Times [link]

In keeping with the theme of Brandstrup’s ballet, all that existed of the music was a couple of dozen fragments, which Michael Berkeley has worked up into an immediately appealing and very danceable whole. Brandstrup picks his collaborators with an unerring eye and ear, and his ballets have a sense of completeness which is quite rare. Jane Simpson review for Dance Now (Vol. 17 No. 2 Summer 2008)

Where to see Kim Brandstrup’s Work:

  • Goldberg – The Brandstrup-Rojo Project – 21 to 26 September at the Linbury Studio
  • New Watkins/Rushes – Fragments of a Lost Story/Infra – 19/26 Feb 1/2/4 March 2010 – ROH main stage
  • MK Ballerina – 20 May to 5 June – The Royal Danish Theatre
  • MK Danseur Noble – 21 May to 5 June – The Royal Danish Theatre

Videos

Sources and Further Information:

  1. Brandstrup’s Official Website [link]
  2. Biography from Birmingham Royal Ballet website [link]
  3. Biography from GBCM website [link]
  4. New Rojo/Brandstrup work feature by Amanda Holloway. ROH About the House magazine – April 2009
  5. Kim Brandstrup feature by Allen Robertson. ROH About the House magazine – Sept 2007
  6. Performance Notes and Programme for Rushes (2008) including article “Kim Brandstrup” by Judith Mackrell
  7. Kim Brandstrup: Arcing back from the abyss by Nadine Meisner for The Independent [link]
  8. Kim Brandstrup’s Brothers reviewed by Ismene Brown for The Telegraph [link]
  9. Kim Brandstrup’s work listings at Loesje Sanders’ Website [link]
  10. Theorising Brandstrup at Work, a conversation with Susan Melrose and Steffi Sachsenmaier [link]
  11. Claude Debussy – The Fall of the House of Usher · Prélude à la l’après-midi d’un Faune · Jeux (Bregenzer Festspiele 2006) DVD [link]

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Is this ballet for you?

Go If: You love classical ballet complete with fairy tale theme, tiaras, tutus, lavish décors and variations for almost every single dancer featuring every single ballet step. The Sleeping Beauty is also ideal for: classical music fans who want to live Tchaikovsky’s vision of the story, young budding ballerinas and danseurs looking for inspiration and first timers, who will be able to easily follow the story.

Skip If: You cannot bear choreographic “filler”, endless variations and character dances (particularly in the prologue and act 3), long mime sequences (as in the Royal Ballet’s version), happy ever after fairy-tales or overly long ballets – think 3 hours including intervals.

Dream Cast

Aurora: There is currently no better Aurora in our books than Alina Cojocaru.

Prince Désiré/Florimund: Beauty is more centered on the ballerina so the Prince’s role is secondary. However, the male solos are a perfect showcase for  danseur nobles such as Mariinsky’s Igor Kolb, ABT’s Marcelo Gomes, NYCB’s Robbie Fairchild and Roberto Bolle. At the Royal Ballet we think rising star Sergei Polunin (who is tackling the role for the first time this season) and Rupert Pennefather are very princely.

Lilac Fairy: Ulyana Lopatkina, Veronika Part and Marianela Nuñez.

Alina Cojocaru as Aurora in Mariinky's 1890 Sleeping Beauty. Photo: Natasha Razina ©. Source: Ballet-dance.com

Alina Cojocaru as Aurora in Mariinsky's 1890 Sleeping Beauty. Photo: Natasha Razina ©. Source: Ballet-dance.com

Background

In 1888 Ivan Vsevolozhsky, Director of the Imperial Theatre in St. Petersburg, had the idea of adapting Charles Perrault‘s tale of The Sleeping Beauty into a ballet and invited Tchaikovsky to compose the music. It was a bold move at a time when fairy-tale based ballets were in low public demand and largely viewed as theatrical gimmicks. Tchaikovsky’s Swan Lake (as choreographed by Wenzel Reisinger/Joseph Hansen) had been coldly received and Petipa‘s ballets were not faring well. However visionary Vsevolozhsky, a diplomat who had also served as librettist and costume designer, seeing the potential for Petipa and the talents of the Imperial Theatre,  jumped at the chance to develop a lavish production of this well loved story in the style of those staged in the court of Louis XIV.

Tchaikovsky didn’t hesitate in undertaking the commission. Immediately taking instructions from Petipa as to the particular requirements (e.g. bar lengths, type of music, character leitmotifs, etc.), he worked fast and it is thought that he completed the overture, prologue and outlines of acts I and II in less than three weeks. Tchaikovsky finished the ballet score at the end of May 1889, having spent a total of 40 days on it. In a letter to one of his benefactors he wrote: “The subject is so poetic, so inspirational to composition, that I am captivated by it”.

Rehearsals began in August of that same year. The premiere, originally scheduled to take place that December, kept being pushed forward until the ballet was finally staged on 15th of January 1890. By then the Tsar, who had been invited to the dress rehearsal, had already given it his verdict, laconically telling a puzzled Tchaikovsky that the music was “very nice”.

Vision Scene in Mariinskys The Sleeping Beauty. Source: Mariinsky.ru Copyright belongs to its respective owners.

Vision Scene in Mariinsky's The Sleeping Beauty. Source: Mariinsky.ru Copyright belongs to its respective owners.

Mixed reviews for the splendid January 15th premiere showed that the audiences had been captivated mostly by the beauty of the music, even if it was constantly referred to as “symphonic”. The libretto was seen as simplistic and juvenile, designs too luxurious (the ballet consumed a quarter of the theatre’s annual budget). Later however, the ballet would captivate the hearts and imagination of a younger generation of enthusiasts. Referred to as the Neva Pickwickians”, personalities such as George Balanchine, Alexandre Benois, Léon Bakst, Sergei Diaghilev, Igor Stravinsky and Anna Pavlova, were greatly impressed by the artistic qualities of the production, giving it a boost which helped The Sleeping Beauty become the most performed ballet in the Mariinsky’s history.

This historical 1890 production was revived in 1999, thanks to its reconstruction by Sergey Vikharev who worked with the original notations by Petipa’s assistant Nicholas Sergeyev, as well as other productions which borrowed from it (Perm Ballet’s 1922 production by Fyodor Lopukhov, the Bolshoi‘s by Grigorovich, the Mussorgsky Theatre of Opera and Ballet’s and the Royal Ballet‘s by Sergeyev himself), where necessary filling in the gaps with the Kirov’s 1952 version – the Soviet Beauty – as staged by another Sergeyev: Konstantin Sergeyev.

The Sleeping Beauty was performed outside Russia for the first time in 1896 in Milan. While In St. Petersburg, with the revolution under way, the production went into decline, it flourished in the West thanks to Diaghilev and his Ballets Russes. Their 1921 staging in London of The Sleeping Princess, in a new full-length version (they also had a 45-min shortened version, Aurora’s Wedding) with designs by Léon Bakst, new orchestrations by Stravinsky and revised choreography by Nijinska had a record 105 consecutive performances and was considered a success even though it had dire economic consequences for the company.

Beauty and the Royal Ballet

The Sleeping Beauty has a special place in the Royal Ballet’s repertoire. It was originally staged for it in 1939 by Nicholas Sergeyev who had fled the Russian revolution with the original Mariinsky notations in his suitcase, with nineteen year old Margot Fonteyn in the role of Aurora. This was also the “statement ballet” chosen by Ninette de Valois to commemorate the end of WWII, as well as her budding ballet company’s new home at the Royal Opera House. Oliver Messel was brought in for the designs and Margot Fonteyn and Robert Helpmann danced the leads Aurora and Prince Florimund/Carabosse. The ballet had its premiere on February 20, of 1946 and became a symbol of the company triumphing against adversity not only at home but on tour in the US, with Fonteyn’s Aurora acclaimed by New York audiences.

Margot Fonteyn as Aurora. Source: Dance Works Online via My Hero.com. Copyright belongs to its respective owners.

Margot Fonteyn as Aurora. Source: Dance Works Online via My Hero.com. Copyright belongs to its respective owners.

The 1946 production was revived by the Royal Ballet in 2006, to celebrate its 75th anniversary and remains in repertoire as their current production. It is also available on DVD.

The Story

Petipa and Vsevolozhsky based their ballet’s libretto on the original fairy tale by Charles Perrault later popularised by the Brothers Grimm. Since the libretto’s priority is to blend the story with the dancing, there are modifications from the source text and, evidently, slight changes from one company’s version to the next.

Prologue: The Christening

The curtains open to reveal the Master of Ceremonies Cattalabutte busy with the final preparations ordered by King Florestan XXIV to celebrate the christening of  his daughter Aurora. He goes through the guest list to make sure he has not forgotten to invite anyone, not least all the fairy godmothers: the Lilac Fairy and

Candide, Coulante-Fleur-de-Farine, Miettes-qui-Tombent, Canari-qui-Chante, Violente or;

Tender Fairy, Carefree Fairy, Generous Fairy, Playful Fairy, Brave Fairy or;

as in the Royal Ballet’s version

Fairy of the Crystal Fountain, Fairy of the Enchanted Garden, Fairy of the Woodland Glade, Fairy of the Song Bird, Fairy of the Golden Vine

who soon arrive to bestow on the Princess gifts and virtues of, respectively, purity, beauty, generosity, musicality and vitality, each dancing a solo representing her trademark virtue. Before the Lilac Fairy has the chance to present her gift (wisdom) she is interrupted by the arrival of Carabosse, the wicked Fairy, furious with the King and Queen for not having been invited. The King calls on Cattalabutte to investigate and his Master of Ceremonies admits Carabosse had been omitted from the guest list. She grabs Cattalabutte and rips off his wig. Ignoring the fairy godmothers’s pleas and ridiculing them, she proceeds to place a curse on the princess, who will grow up to be very beautiful but ultimately prick her finger on a spindle and die on her sixteen birthday. As the court panics the Lilac Fairy, who was yet to give her gift, promises that if Carabosse’s curse ever materializes, then Aurora will not die, but fall into deep sleep for 100 years, awakening once she is found by a Prince from a faraway land who shall give her true love’s kiss.

Royal Ballets Genesia Rosato as Carabosse Source: Opusarte. Copyright belongs to its respective owners.

The Royal Ballet's Genesia Rosato as Carabosse Source: Opusarte. Copyright belongs to its respective owners.

Act I: The Spell

It is the eve of Princess Aurora‘s sixteenth birthday and the whole kingdom is celebrating. While villagers dance with flower garlands a small group of women is seen knitting, a forbidden activity which carries a death penalty since the King has banned all sewing objects from his kingdom. Cattalabutte reports them to the King, who decrees that the women should be hanged, but the Queen intervenes and pleads for mercy. Since it is his daughter’s birthday he reconsiders and the festivities resume.

Four princes arrive from far away lands (they are referred to as the French, Spanish, Indian and Russian princes) to meet the princess and offer her gifts of exquisite roses. Aurora’s friends enter and just after that Cattalabutte annouces the Princess’s arrival. As the music becomes as fast as heatbeats, Aurora bursts onto stage dancing quick jumpy steps which convey her youthful innocence. The King and Queen greet her asking her to dance with the princes as she is now old enough to marry. She receives them charmingly and dances what is called the Rose Adagio, one of the most testing pieces for a classical ballerina as she is required to do multiple balances on pointe center stage whilst being courted by each prince, making each of them completely taken with her beauty.

After this technical tour de force, Aurora returns to dance a solo for the princes, which she does in a part coquettish, part bashful way, like a typical teenager. Just then an old lady appears and presents her with a spindle, which she grabs  with curiosity since she had never seen one. She dances with it, while her mother and father watch with a mixture of apprehension and terror as Aurora pricks her finger and collapses. The old lady reveals herself as Carabosse, laughing triumphantly and vanishing before the Princes can fight her. The Lilac Fairy then appears to remind everyone that the Princess will not die. She puts the entire kingdom to sleep, to awaken only once Aurora‘s curse is broken.

Carabosse's curse as depicted in The Royal Ballet's Sleeping Beauty. Photo:V&A Images © Source: V&A Collections

Aurora falling under Carabosse's spell in The Royal Ballet's Sleeping Beauty. Photo:V&A Images © Source: V&A Collections

Act II: The Vision

One hundred years have passed and Prince Désiré/Florimund is hunting with friends. They try to entertain him with games and dances but he does not seem interested. As his party departs in pursuit of a stag, he lingers behind alone in the forest. The Lilac Fairy appears and shows him a vision of Princess Aurora, and as he dances with this vision he falls in love. He pleads to be brought to the Princess, and the Lilac Fairy takes him to a castle hidden beneath layers of ivy. At the gates they encounter evil Carabosse who tries to prevent the Prince from entering, but the Lilac Fairy repels her and the Prince finally awakens Aurora with a kiss. Désire/Florimund declares his love for her and Aurora agrees to marry him.

Marianela Nuñez as the Lilac Fairy. Source: OpusArte. Copyright belongs to its respective owners.

Marianela Nuñez as the Lilac Fairy. Source: OpusArte. Copyright belongs to its respective owners.

Act III: The Wedding

Festivities are held to celebrate the nuptials of Princess Aurora and Prince Désiré/Florimund. Various fairy tale characters join the festivities including Puss in Boots and the White Cat, the Bluebird and Princess Florine, Little Red Riding Hood and the Wolf among others, the highlight here being the Bluebird Pas de Deux, in which the male soloist has to perform a fiendish diagonal of Brisés volés mirroring a bird in flight. The beautiful grand wedding Pas de Deux ensues, the choreography showing us a more mature Aurora – more poised and confident than the 16 year old from Act I – and her elegant, danseur noble, prince. They are joined by their guests in a mazurka and the ballet ends with the The Lilac Fairy blessing the newly wedded couple.

The Music

Tchaikovksy’s score lasts 3 hours so it is usually cut for the ballet. There are two main leitmotifs, one for Carabosse (the angry sounding first part of the overture) and other for the Lilac Fairy (the calming second part) and both often develop from one another. This review of ABT’s Sleeping Beauty by NY Times dance critic Alastair Macaulay contains some great insights into the musical themes set by Tchaikovsky.

An essential Sleeping Beauty playlist for your ipod should include the below tracks, which are listed as in the original 1890 version. Since track names in the various commercial CD releases might vary (ie. “Grand pas de action: Grand adage à la rose, No 8.” might become “Track 9. Act 1: The Spell. No. 8. Pas d’action”), we have also added the originally corresponding numbers, thus:

Prologue: Overture/Intro (No. 1)
Prologue: Variation La Fée des Lilas–voluptueuse (From the Pas de Six) (No. 3, Variation VI)
Act I Grande Valse Villageoise (The Garland Waltz, No. 6)
Act I Pas d’action: Grand adage à la rose (Rose Adagio No.8)
Act I Scène et Finale (No. 9)
Act II Scène de la chasse royale (No. 10)
Act II Panorama (No. 17)
Act II Scène du Chateau de sommeil (N0. 19)
Act II Scène et Finale. Le réveil d’Aurore (No. 20)
Act III Marche (No. 21)
Act III Polonaise Dansée (No. 22)
Act III Pas de caractère Le Chat Botté et la Chatte Blanche (No. 24)
Act III Pas de deux de l’Oiseau Bleu et la Princesse Florine (No. 25)
Act III Variation de la Princesse Florine (No. 25)
Act III Variation de l’Oiseau Bleu (No. 25)
Act III Pas De Deux. Aurore et Désiré (No. 28)
Act III Coda Générale (No. 30)
Act III Apothéose (No. 30)

Mini-Biography

Original Choreography: Marius Petipa
Music: Pyotr Ilyich Tchaikovsky
Original Design: Henrich Levogt (Prologue), Ivan Andreyev (Act 1), Mikhail Bocharov (Acts 1 & 2), Matvey Shishkov (Act 3) with costumes by Ivan Vsevolozhky
Original Cast: Carlotta Brianza as Aurora, Pavel Gerdt as Prince Désiré, Marie Petipa as the Lilac Fairy, Enrico Cecchetti as the Bluebird and Varvara Nikitina as Princess Florine.
Premiere: St. Petersburg, Imperial Mariinsky Theatre, 15 Jan 1890.

For the Royal Ballet’s current production (the 2006 revival of 1946 production by Ninette de Valois)

Production Credits: Monica Mason and Christopher Newton after Ninette de Valois and Nicholas Sergeyev with designs by Oliver Messel and Peter Farmer

Choreography: Marius Petipa, with additional choreography by Sir Frederick Ashton (Act II, Aurora’s Variation and Prince’s Variation and Act III: Florestan and his sisters after Petipa), Anthony Dowell (Prologue: Carabosse and Rats and Act III Polonaise and Mazurka assisted by Christopher Carr) and Christopher Wheeldon (Act I: Garland Dance).

Sources and Further Information

  1. Wikipedia Entry for Sleeping Beauty [link]
  2. BalletMet Sleeping Beauty Notes by Gerald Charles [link]
  3. NYCB Sleeping Beauty Notes [link]
  4. Performance Notes and Programme for The Royal Ballet’s Sleeping Beauty (2008) including The Sleeping Beauty by Clement Crisp, A Cinderella Story for a Sleeping Princess by Tim Scholl and The Good, the Bad and the Symphonic by John Warrack.
  5. For Ballet Lovers Only feature on the Reconstructed Beauty by Doug Fullington [link]
  6. The Sleeping Beauty (The Royal Ballet) DVD. Recorded Performance from 2006, featuring Alina Cojocaru as Aurora and Federico Bonelli as Prince Florimund. BBC/Opus Arte, 2008 [link]
  7. The Magic of Sleeping Beauty. Royal Opera House Podcast, presented by Deborah Bull. 2007 [link]
  8. Wake up Princess, the Movies are Calling. Dance review by Alastair Macaulay for the NY Times [link]
  9. CD: Tchaikovsky: The Sleeping Beauty London Symphony Orchestra directed by André Previn, 2004. EMI Classics. [link]

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