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Posts Tagged ‘Mara Galeazzi’


New year, time to update our calendars and balletic schedules. In this post we share our essential ballet picks for 2010. With many of our favourite dances and dancers, plus so many companies stopping by London, we are feeling like seven-year-olds at large in a candy store. The difference being that ballet candy is somewhat more costly (our pockets bleed already and it’s only January). Now that you know where we’ll be going make sure to stop us and say hi.

January – Febuary

While Romeo and Juliet is sure to keep us warm from the Artic conditions outside, we are heading to even colder plains to check out Royal Danish Ballet’s Bournonville/Balanchine double bill of La Sylphide/Symphony in C – another programme guaranteed to make our hearts flutter. Later in February it’s time for a look at young choreographer’s Jonathan Watkins new ballet, part of the Infra/Rushes/New Watkins Triple bill.

On February 22 we shall be heading to Covent Garden Odeon to catch The Royal Ballet’s Mayerling, the gritty and shocking balletic drama with Ed Watson as Crown Prince Rudolf.  Pre-book your tickets and join us for some ballet & popcorn.

Also on our radar: Mara Galeazzi’s Fundraising Gala at Sadler’s Wells which promises to feature new choreography by Steven McRae.

March – April

Speaking of Steven, March brings his Romeo back to Covent Garden, this time paired with the lovely Roberta Marquez who recently featured as Juliet opposite Teddy Kumakawa in K-Ballet’s staging (DVD soon out in Japan we hear). There will be other opportunities to catch this young pair in La Fille Mal Gardée and Cinderella both ballets contrasting heavily with the MacMillan Triple bill of Concerto, The Judas Tree and Elite Syncopations.

Also on our radar: We are keeping tabs on the Coliseum which will host Ballet Nacional de Cuba and a mix of international acts at the Nureyev gala on March 21. BRB also have a big gala celebration planned for their 20th anniversary of residence at the Birmingham Hippodrome, including some rarities.

May – June

While Electric Counterpoint and Mats Ek’s Carmen are not really our cup of tea, the Royal Ballet’s May triple bill includes Liam Scarlett’s first ballet for the main stage (his ballet at the Linbury last year stole our hearts) so we go. The Royal Ballet closes another fab season contrasting the neoclassical Symphony in C with ultra modern Chroma and Wheeldon’s Tryst.

Also on our radar: We may have to pay a visit to ENB’s mammoth Swan Lake-in-the-round given Polina Semionova will be guesting.

July – August

While The Royal Ballet is in Japan where Miyako Yoshida dances her last Juliet opposite – him again – Steven McRae’s Romeo, the Bolshoi takes residence at the ROH with an exciting programme mixing the usual suspects (Le Corsaire, Don Q., Spartacus) with Ratmansky’s wonderful Russian Seasons, a reconstructed Coppelia and a double bill of Giselle/Serenade. Let’s hope for plenty of starry casts.

Also on our radar: As if there wasn’t enough Russian ballet in town, the mighty Mikhailovsky are reportedly bringing Giselle and Swan Lake this summer, lucky we.

September – October

We take a break from ballet in September and gear up for another Royal Ballet season (2010/2011) in the beginning of October.

November – December

It seems The Mariinsky will be bringing The Little Humpbacked Horse to Paris, we pack our bags and go!

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As we prepare to send off 2009 and embrace a new decade, we look back into what was hot, fun & fab around the ballet blogosphere to pick our favorite things this year. Feel free to share yours too.

Favorite Blog Posts

Haglund Heel’s “ABT needs a Mayerling” campaign

The coolest ballet campaign of the year. We keep on crossing our fingers & sending positive vibes for Mayerling to be part of ABT’s repertory someday. We’d definitely cross the Atlantic to see Marcelo Gomes as Crown Prince Rudolf.

You Dance Funny on the mess with “Swan Lake’s third act Pas de Deux”

We love uncovering mysteries à la Sherlock Holmes / Dr. Gregory House.  Divalicious prima ballerina decides she doesn’t like the score for her Swan Lake 3rd Act solo and asks Ludwig Minkus to write another one. This in turn bothers the original composer, a certain Mr. Tchaikovsky, who then writes a second version which never makes it to the final cut after all. Complicated? This could very well yield material for a soap opera.

Bloggerina meets Mr. Clement Crisp

Once upon a time our favorite ballet critic, Mr. Clement Crisp, went on a trip to Canada to see a triple bill composed entirely of new ballets, something sadly unthinkable in our neck of the woods. He met the Toronto ballet audience & spoke about what can be done to ensure the future of ballet. We were left very jealous…

Bella Figura’s Make your own Ballet Xmas in Paris

While Eurostar #FAIL would have surely prevented us from celebrating a balletic Xmas in Paris this year, this post provided us a much needed insight into the pick and mix of POB‘s casting. We are very curious about the darkest of all Nutcrackers and we might be more than tempted next December when the Mariinsky will also be in town. The post also offers a witty description of a certain Bolshoi star who has a habit of hanging on to theatre curtains.

Demicontretemps’s “If Ballet Stars were comic book heroes”

We love graphic novels, comic books and movie adaptations of both. We also often imagine deathmatches between our favorite ballet stars… if only we could pitch this idea to MTV. In this very funny post Eric Taub imagines Ballet dancers as drawn by famous comic book artists.

Veronika Part on Wolcott and Swan Lake Samba Girl

She is one of the most glamorous things to have happened to ballet. Just as gossip started to circulate that she would leave ABT she turned the tables on the rumour mill and bagged a promotion for Principal and a spot on David Letterman. May she long continue to fascinate us.

Favorite Tweets/Social Media Stuff

Sanjoy Roy on How dance companies must embrace the internet. The Guardian dance writer Sanjoy Roy picks up on the Ketinoa debate.

Hedi Slimane’s short film featuring Royal Danish Ballet’s Oscar Nielssen rocking and phrasing beaten steps to the music of Supershine drummer Matthias Sarsgaard. We said it before and will say it again: Ballet Rocks! (as tweeted by @hedislimanetwit)

Crankocast – Who would you be cast as in a Cranko ballet? Over here we got the two Taming of the Shrew sisters, one for each Bag Lady. Spooky! How did they know? (as tweeted by Stuttgart Ballet Principal dancer @EvanMcKie)

Charlotte MacMillan’s Mayerling photos at The Arts Desk – breathtakingly sinister studio shots of one of our favorite dark ballets with one of our favorite casts (as tweeted by @Macmillanballet)

Mariinsky in Japan Little Humpbacked Horse photos – mouthwatering candy store-like pictures of the Ratmansky ballet we are dying to see (as tweeted by the lovely @naomip86 – our Japanese ballet guru)

Favorite Ballet Bag Stuff

Interviews – Three fabulous leading dancers with each of the Mariinsky, the Royal Ballet and ABT. Three very distinct personalities which resulted in very different interviews. We hope you enjoyed them as much as we did. We are crossing our fingers for more.

Bridge Over Troubled Water & other Social media posts – We are big believers in the power of social media. All of these posts were great fun to write & some even managed to stir some controversy (see Sanjoy Roy article above).

Supermassive Black Hole – Our resident physicist analysed BRB’s new ballet based on Einstein’s Theory of Relativity. Perfect for the job.

Grace – This was a tough cookie. Someone asked in our Facebook group if we could write something about the ballerina’s grace. It was hard to put a subjective concept into words but we really liked the final product, not least because it gave us a chance to quote from Pride and Prejudice.

Last but not least

Our favorite Dances of the Decade

Our favorite Dance articles of 2009 (Conventional Media)

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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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Kenneth MacMillan, one of the leading choreographers of the twentieth century, is credited with pushing the boundaries of classical ballet and challenging audiences to look beyond the idealised world of fairy tales into the reality and discomfort of their own mortal existence.

With ballets that probed into all extremes of the human condition MacMillan found a deeper way to engage the viewer, to make us empathise with the emotions flowing from his expressive choreography. As part of his 80th anniversary celebrations The Institute of Psychoanalysis and the Royal Academy of Dance are sponsoring a full day symposium which will explore the relationships between physical expression and emotional impact in the choreographer’s work.

Leading MacMillan interpreter Edward Watson, one of the symposium’s participants, has just finished a critically acclaimed run of Mayerling at Covent Garden, dancing the challenging role of Crown Prince Rudolf. We were delighted that Watson agreed to talk to us about the choreographer’s legacy and the way into MacMillan’s complex, yet so very human, characters:

Edward Watson. ROH Photo: Charlotte MacMillan ©

Edward Watson. Photo: ROH/ Charlotte MacMillan ©

Let’s start with your recent performances as Crown Prince Rudolf in Mayerling. How much physical and emotional commitment does the “toughest of male roles” require and how do you resurface from each performance?

EW: There is no other way to go about it without being totally physically and emotionally committed to it. I don’t you think you can separate them, it’s all one thing. You just get yourself ready to commit musically, emotionally and physically, all of those things, to enter on it, to be believable and credible. In terms of how you feel afterwards…

Because it is such an intense role…

EW: It’s really intense and every show is different, but I never sleep after Mayerling, I am still awake at four in the morning. It’s completely draining, you feel drained after Act II. Actually after Act I you feel like you’ve done three acts already so… it is funny to get yourself ready for it. You don’t want to give yourself out too much at the beginning, otherwise you are not going to have enough energy to the end. In the first act I am always trying to pace myself and, knowing how you are going to feel at the end, you think: why would I do this to myself? But it is an amazing thing to do. I’ve never had any kind of experience like that where you feel you almost lived as someone else for a couple of hours. It’s incredible, a great ballet, it is just amazing.

In addition to Crown Prince Rudolf, Des Grieux and Romeo are all MacMillan classics you have danced a number of times in different places. How have your interpretations of these roles evolved over time?

EW: The biggest change has been with Romeo, because I’ve done it a lot now. Not that I think I wasn’t ready when I first danced it, but Lauren [Cuthbertson] and I weren’t ideally matched and we both knew that, so we relied on our youth to tell the story that way. This is something I have tried to keep. Romeo is a boy and Juliet a girl, they are kids, they are not a prince and a princess. Some people play it like a 20th century classic rather than being clumsy kids which is what they are in a way. The choreography for Romeo is particularly demanding. That I feel I am still trying to get right, to show the youth and abandonment while technically being tight and secure. I’ve now danced Romeo with Lauren, with Mara [Galeazzi] and with Leanne [Benjamin] so you find so many different things with whomever you are responding to or whoever is in front of you.

MacMillan’s characters are typically complex and they demand strong dramatic skills. How important is it to have a like-minded partner? Do you discuss a mutual approach beforehand or is it mainly an act and react dynamic?

EW: Both of those things. Some moments you find something has developed without talking. You are playing something in a certain way, your partner too and it works. When it doesn’t work we tend to discuss. You say, I don’t know what you are doing, what you are thinking or what are you trying to say through the way that you do that step, or is there anything I can help you with, for instance, in the way I lift you. The way into MacMillan is definitely through the steps. It’s not through putting on a face and acting. All is there to be discovered in the choreography. There is so much to be brought out that I don’t think you’ll ever stop finding things in movement. The amazing thing about being a dancer in those ballets is that you will always find something that you haven’t found before. You can connect those steps somehow to your character, to your situation with another character, tiny things like the way you phrase, the way you might stretch something, a look. It is all very physical and thought makes the physical thing happen or sometimes the other way around. It’s a total symbiosis. That was the genius of MacMillan and of the people he worked with when he made these ballets into huge successes: all those elements were exactly right.

So every time one approaches the choreography, there must be new things to be discovered?

EW: Physically everybody is different. I look very different to, say, David Wall [who created the role of Crown Prince Rudolf] or Irek Mukhamedov. So just as they approach steps musically different or physically different, so will I. In classical ballets like Swan Lake or Sleeping Beauty, there are set rules, very obvious rules of what looks right and what doesn’t, but when the choreography really describes character and character situation, there is so much an individual can find to say with a character. It is a dancer’s dream. Of course there are rules, there is set choreography to set music but you can find your way of saying certain things within those rules.

Are there any experiences or specific preparations that have enriched your interpretation of a particular role?

EW: I do a lot of reading. With Romeo I went straight back to the play. Kenneth worked really close to Shakespeare’s play and I know Lynn Seymour [who created the role of Juliet] did. There were a few masterclasses that Tamara [Rojo] and I did with Lynn where she read the text to us and described what he was trying to say at that point. I also read Manon, but it was a ballet I grew up with, watching it as a kid and dancing various parts always.

The most research I did was with Mayerling because Crown Prince Rudolf was a real person and so you have a responsibility to be very honest. I read a lot of books on the subject. Deborah [MacMillan] lent me a book which Kenneth gave her for her birthday which he based the ballet on. She lent me her copy so I could find things that he had underlined in there, things that were really important to him. I also had a weekend in Vienna, I went to visit Mayerling and saw the grave. It fascinated me, this ballet has always fascinated me since I was a kid, from having seen the South Bank documentary originally with Lynn Seymour and David Wall. It is one of those ballets that grow on you. The more you see it, the more you want to see it again. Being in Mayerling had an impact on me because it doesn’t come around that often. It wasn’t in the company for about 8 years while I was here.

Edward Watson as Crown Prince Rudolf in MacMillan's Mayerling. Photo: Johan Persson / ROH ©

Edward Watson as Crown Prince Rudolf in MacMillan's Mayerling. ROH/ Photo: Johan Persson ©

Did you do any new readings or research this time?

EW: I re-read The Road to Mayerling and when I visited the Mayerling lodge, which is now a convent, I found these weird photocopies outlining the events with dates and times, so I read through that, but I had already done so much before that I knew what I wanted to do, what I wanted to change. I wanted the character to build up more this time.

MacMillan revolutionised storytelling in classical ballet, taking it out of its comfort zone, digging deep into human psyche. How relevant are narrative ballets nowadays?

EW: I think people want story-based ballets. It is easier for an audience to want to come to a ballet with a story. Triple bills are harder because of the lack of a linear narrative for a whole evening. Alice in Wonderland is going to be Chris Wheeldon’s next thing [for the Royal Ballet] and I think it is the right time and I hope it is a success.

Having said that, MacMillan’s one-act ballets are what made me, what I grew up in. My first principal role was in My Brother, My Sisters. Those ballets say much about people, feelings and situations, and even Gloria, and Triad, ballets I did when I was younger, there’s so much in them that is not about set characters like Des Grieux, Rudolf and Romeo, but they are still such an amazing experience.

In the past you mentioned that your role in Gloria – one of MacMillan’s most personal ballets – was your favourite…

EW: Did I? I love that ballet, I really love it.

Which is your favorite one-act MacMillan now?

EW: It changes all the time, I have nice memories of all sorts of things but Different Drummer really changed a lot for me. Physically, it really felt like it fitted. I had to work very hard but I understood its physicality, I understood where he was going with it, and in a funny way, it’s the same kind of intense experience as Mayerling, only shorter, but also totally exhausting. It was a wonderful working time for me, Leanne and I were working together a lot and she had worked with Kenneth on the ballet, so she could help me a lot. And Monica Parker who coached us was really enthusiastic as it hadn’t been done for a long time, for about 15 years. It was a ballet people hadn’t seen, that a whole company hadn’t been involved with, so it was really exciting to have the responsibility of bringing it back and making people want to see it. That whole experience probably makes it my favorite one-act.

And your favorite full-length?

EW: Manon and Mayerling are both wonderful. Manon is a ballet that I had always wanted to do since I was a kid, since I was at White Lodge and it ended up being the last big MacMillan role that I debuted in. I love it and Mara is fantastic and I wouldn’t be anything in that ballet without her, it’s really about what she gives me. But more recently, and for the same reasons as above, I should say Mayerling, it is still kind of…it is still lingering on my back!

About the upcoming MacMillan symposium this November, can you give us any insights into what participants may expect?

EW: There will be discussions from psychologists and also from dancers and collaborators who were involved with Kenneth on creating those ballets and, demonstrations from people like me, doing bits of Mayerling. There’s also going to be archive footage, so people can see and discuss the ballets. It will be very interactive, people will be able to ask questions rather than just being presented to. I have a feeling it’s going to be a very interesting day, a real eye opener into what MacMillan is all about.

In your opinion, what is MacMillan’s greatest legacy to ballet?

EW: In my opinion, all of that work. Even those works that are considered failures or that aren’t danced so much these days. It’s so important that someone was constantly pushing classical ballet. It’s classical ballet pushed beyond what you would expect it to, either to tell a story or, like Song of the Earth, telling you everything about life, death and everything in between. No costumes, amazing music, choreography that moves you and you understand somehow through those amazing poems and Mahler’s music that someone can express those feelings to an audience. And that the very same person can tell the most complicated story, like Mayerling, through dance. I find it total genius that someone can do that. No stop and mime, all of those feelings are expressed through choreography.

Song of the Earth is my favourite ballet of all time to watch and the last few times I did it, I loved it. It’s so strange because you are very removed from everyone else. There’s more impact to be made [as the Messenger of Death] by being subtle and just gently there. The poems that inspired Mahler’s songs say “death is like a whisper” and that changed the way I did the role, it’s like a little whisper that’s always there or a feeling, slightly dimmer and you wonder why. It’s little things like that, that you can read and find out. When he was making the ballets MacMillan didn’t always tell people exactly what he wanted them to feel, but it was obviously in his mind, his influences from what he read, from what he heard, all this concerned him.

How transparent then, that even when he did not say it, he could actually find a way to.

EW: Well, that’s the kind of genius he was.


Kenneth MacMillan’s Choreographic Imagination and Psychological Insight Symposium takes place on Sunday, November 8, 2009 from 10am to 8pm at Imperial College London.

This all day event will include a series of set pieces – videos, masterclasses, presentations – interspersed with opportunities for interactive discussion among the participants on stage and members of the audience.

The day will be divided into four separate sections:

MacMillan’s Language – Gesture & Emotion Observed and Expressed

  • Includes videos, presentation and discussion with National Theatre AD Nicholas Hytner and actress/writer Nichola McAuliffe

MacMillan’s Creative Methods – Working with Dancer’s Bodies

  • Includes videos and Mayerling masterclass (Monica Mason with Royal Ballet’s Edward Watson, Iohna Loots and Cindy Jourdain on Mayerling Act 1 Pas de Deux)

MacMillan’s Subject Matter – Breaking the Rules

  • Includes videos, presentations and discussion with FT dance critic Clement Crisp and Manon masterclass (Wayne Eagling with dancers from ENB on Manon Act 1 Pas de Trois)

MacMillan and the Institutions – Creativity in spite of Adversity

  • Film of MacMillan speaking, with comments from Peter Wright, Deborah MacMillan, Clement Crisp. Discussion on the creation of ‘The Judas Tree’ –  with dancers from its original production (Viviana Durante, Michael Nunn and Stephen Wicks)

The event will close with a screening of the complete ballet “The Judas Tree” followed by a social gathering where the audience will have the opportunity to meet and talk with the participants.

Full programme & booking details available from the official website: www.kennethmacmillan80thanniversary.com

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Arriving at Covent Garden last night and glancing at my Mayerling cast sheet I wondered if the audience – mostly non-ballet-regulars thanks to a promotion ran by The Sun newspaper – had any idea of their lucky draw with this particular cast: principals Laura Morera as Mitzi Caspar and Steven McRae as Bratfisch, soloists Sergei Polunin and Thomas Whitehead as 2 of the Hungarian separatists, Cindy Jourdain as Rudolf’s mother Empress Elisabeth (aka Sissi), a very talented field team to support a luxury leading cast: Edward “born to play Crown prince Rudolf” Watson, Mara Galeazzi as his Mary Vetsera and the much missed Sarah Lamb, back after one year absence, as his older lover Countess Larisch.

Mayerling Cast, from left clockwise: Mara Galeazzi as Mary Vetsera, Edward Watson as Crown Prince Rudolf, Sarah Lamb as Countess Larisch, Sergei Polunin as Hungarian Officer, Steven McRae as Bratfisch and Laura Morera as Mitzi Caspar.

Mayerling Cast, from left clockwise: Mara Galeazzi as Mary Vetsera, Edward Watson as Crown Prince Rudolf, Sarah Lamb as Countess Larisch, Sergei Polunin as Hungarian Officer, Steven McRae as Bratfisch and Laura Morera as Mitzi Caspar. Source: ROH ©. Copyright belongs to its respective owners.

Whether this hot cast was already known to few or many, I think we all soon understood how special this performance was going to be. All that has been said in the press, rather more eloquently, of Watson’s Rudolf a couple of years ago is true: his “unfurling line” is better than ever. So is the “ability to turn his distinctive appearance to dramatic advantage. But what particularly impresses me is how he is able to remain so naturalistic, so effortlessly at home in a role which is said to be so demanding, the Mount Everest of male dancing. Watson turns MacMillan’s choreography inside out, he inhabits it so completely that by the time he loses his head and his lover in Act 3 he does not seem to be executing steps anymore, he is entirely possessed by dance, and thus by obsession and madness. His approach to the role is a crescendo of faster turns and high extensions combined with signs of agitation, of symptom, in every gesture.  Every step links into a continuous whirlwind of emotion.

Although Crown Prince Rudolf is frequently onstage and frequently dancing it is interesting to observe how MacMillan envisaged a character who does not “dance with the music”. This is blatant when you compare Rudolf against the dancers in the Tavern or his private entertainer Bratfisch. The latter are stereotypes, the “ballet within the ballet”, whereas Rudolf, except for the scenes where he joins in the group dances, is always a dissonant voice, an unconventional mover. Mayerling is not about the sequence of bravura steps which are characteristic of male classical roles, but more about how the protagonist, through scattered solos and a series of pas de deux with his many women, conveys his diseased view of the world, another of MacMillan’s ground breaking choreographic visions.

Edward Watson and Mara Galeazzi in Sir Kenneth MacMillan's Mayerling Photo: Johan Persson / ROH © Source: Danser en France

But even though MacMillan crafted steps that speak more than actions, he also stayed rooted in theatrical tradition, demanding from his lead strong dramatic skills. When Watson is not dancing we see Rudolf’s neurotic mind constantly questioning his surroundings, observant, clearly setting his own agenda. In Act 2 for instance, the family gathers to hear a lieder sung by the Emperor’s lover, the actress Katherina Schratt, a song (“Ich Leide”, by Liszt) which speaks of farewells, of someone who is leaving. As Rudolf stands at a safe distance from everyone else, we see he is listening carefully, that he is soaking up those words to fuel his dark intentions.

With Watson’s line becoming progressively more extreme – I have never seen him using his extensions in a classical piece so liberally – we see the edges this Crown Prince is willing to go over to rid himself of this world. He carries the weight of the distant relationship with his mother, unleashes his Oedipean frustrations on his wife and on his old lover Countess Larisch, but in the encounters with young lover Mary Vetsera we see the dance become more weightless, almost like a brief release from pressure. Here Watson throws all caution to the wind, so full of complicity in his last “crazy-love” pas de deux with Mara Galeazzi’s fluid Vetsera that you think for just one moment this Rudolf might not go ahead with the initial suicide plan. But we know how it all ends: not happily.

It was a fantastic, intense start for the ballet season. Although there are always first night jitters and some fine tuning as performances progress, the company seemed on great form back from their break and probably pleased with the big cheer they got from a very appreciative crowd. With this amazing cast and such a compelling piece we hope the new audience left enthused and ready to come back for more. It certainly sounded like it.

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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Better late than never! The Royal Ballet troupe are now well into their summer tour while ballet orphans count the days until the Mariinsky set up camp in Covent Garden to alleviate those dance blues.

That’s over here in London, but if you are lucky enough to be out there (see schedules below) over the next months we suggest you bag some great ballet treats, including MacMillan’s Manon which kicked off in Washington last night and runs until Sunday afternoon. We note, en passant but with a mega pang of jealously, that Alina Cojocaru & Johan Kobborg will be performing it tonight and also in Havana (18 July) while in the UK they have not danced together in a MacMillan ballet for quite some time (Mayerling in early 2007 if memory serves me right). So there you have it, a golden opportunity to watch a golden ballet couple in the great “modern classic” that is Manon.

Alina Cojocaru & Christopher Saunders (as Monsieur GM) in Manon. Photo by Johan Persson. Source via PlaybillArts (copyright belongs to its owners)

Alina Cojocaru & Christopher Saunders (as Monsieur GM) in Manon. Photo by Johan Persson. Source via PlaybillArts (copyright belongs to its owners)

Otherwise if you wish to take your ballet addiction much further (literally!) we also list below a selection of performances and galas that will be happening over the summer. Travel safely everyone!

The Royal Ballet Summer tour 2009 in a nutshell

Kennedy Center, Washington, USA

23 and 24 June
Mixed Programme: Wayne McGregor’s Chroma/Frederick Ashton’s A Month in the Country/Christopher Wheeldon’s DGV

25, 26, 27 (mat and eve) and 28 June (mat)
Manon

Alhambra Gardens, Granada, Spain

7 and 9 July
Swan Lake (see casting details below)

Gran Teatro de la Havana, Sala Garcia Lorca

14, 15 and 16 July
Mixed Programme: Wayne McGregor’s Chroma/Divertissements: Frederick Ashton’s Voices of Spring and Thaïs pas de deux/Kenneth MacMillan’s Romeo and Juliet pas de deux and Winter Dreams pas de deux/Le Corsaire pas de deux/Frederick Ashton’s A Month in the Country/Johan Kobborg’s Les Lutins

Teatro Karl Marx, Havana

17 and 18 July
Manon

Special Performances & Galas (based on information from the dancers’s official websites – listed on our right column – and/or theatre websites and subject to change)

Picture 13

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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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