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Posts Tagged ‘Thiago Soares’

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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Is this ballet for you?

Go If: You can’t resist a tragic love story. New Moon is your favorite book of the entire Twilight Saga and you can quote a certain passage from Act II, Scene VI of Shakespeare’s play by heart (don’t worry we won’t tell anyone). You’ve never been to the ballet and want to start with a tale that’s easy to follow in dance form.

Avoid If: Get thee gone, thou artless idle-headed pignut! (Ok, so you’re not a fan of The Bard)

Dream Casts

We asked our twitter followers and they said:

Juliet – Gelsey Kirkland, Yevgenia Obraztsova, Maria Kochetkova, Miriam Ould-Braham, Silvia Azzoni, Julie Kent, Alessandra Ferri, Alina Cojocaru

Romeo – Anthony Dowell, Vladimir Shklyarov, Igor Kolb, Jason Reilly, Friedemann Vogel, Angel Corella, Robert Fairchild, Steven McRae

Background

The Leonid Lavrovsky version

The idea for Romeo and Juliet as ballet came originally from Sergei Radlov, the Artistic Director of the Kirov (now the Mariinsky) around 1934. He developed the scenario together with theatre critic Adrian Piotrovsky and commissioned the music from one of his favorite Chess partners: Sergei Prokofiev who had never before composed for a full-length ballet.

Prokofiev finished the score on September, 1935 but the production was stalled when the communist regime demanded it be given a happy ending. Having shaped his score to match Radlov’s interpretation of the Shakespearean play Prokofiev was unhappy with this imposition.

Mariinsky's Vladimir Shklyarov and Yevgenia Obraztsova in Lavrovsky's Romeo and Juliet. Photo: Natalia Razina / Mariinsky Theatre ©

Further political problems saw the project shelved and transferred to the Bolshoi where it was deemed unsuitable. The ballet was eventually salvaged by the Kirov and on January 11, 1940 Romeo and Juliet finally received its premiere, with choreography by Artistic Director Leonid Lavrovsky. Legendary Galina Ulanova was the original Juliet and Konstantin Sergeyev her Romeo. The ballet was hailed a success but it only became a phenomenon six years later when it was staged in The Bolshoi Theatre (December 28, 1946), resulting in Lavrovsky’s appointment as Artistic Director of the Bolshoi.

The Bolshoi toured London for the first time and staged Lavrovsky’s Romeo and Juliet in the Covent Garden Stage (October 3, 1956) to great acclaim. Margot Fonteyn expressed she had “never seen anything like it” and budding choreographer John Cranko was so inspired by the ballet that he soon started to plan his own version.

Mariinsky's Viktoria Tereshkina and Yevgeny Ivanchenko in Lavrovsky's Romeo and Juliet. Photo: Natalia Razina / Mariinsky Theatre ©

The John Cranko version

Cranko’s first staging of Romeo & Juliet was for the ballet company of La Scala in Milan in July 26, 1958. It was danced in an open amphiteatre in Venice. Designs were by Nicola Benois and the role of Juliet was danced by then 21 year-old Carla Fracci. Further revising the ballet Cranko staged it  in 1962 for his own company, The Stuttgart Ballet. Jürgen Rose was in charge of the designs and young Brazilian ballerina Marcia Haydée, soon to become Cranko’s muse, was cast in the role of Juliet, with Richard Cragun as Romeo.

Cranko’s staging is renowned for its strong corps de ballet dances, which set the atmosphere. The first scene takes place in the cramped streets of Verona, so both Montagues and Capulets are incapable of avoiding each other. In Act II the fight erupts amongst peasants on a harvest festival, with everyone involved and fruits being spilled around. At that time Cranko’s company were still developing their technique and identity so the choreography is relatively simple. When it comes to the various pas de deux one can see Lavrovsky’s influence in the very Soviet style of partnering with lifts and tosses.

Cranko’s version of Romeo and Juliet remains very popular and besides being a regular staple at the Stuttgart Ballet, it is also in repertory at The National Ballet of Canada, The Australian Ballet, Finnish National Ballet, The Joffrey, Houston Ballet, Boston Ballet, and Pensylvannia Ballet, among others.

The Kenneth MacMillan version

Kenneth MacMillan, a close friend of Cranko’s from their dancing days in the Sadler’s Wells Royal Ballet, was inspired to create his own version for The Royal Ballet after seeing it staged by The Stuttgart Ballet. An opportunity came when The Royal Opera House failed to secure a deal with the Bolshoi to exchange performance rights for Ashton‘s La Fille Mal Gardée against Lavrovsky’s Romeo and Juliet. Ninette de Valois had also asked Sir Frederick Ashton to stage the version originally choreographed for The Royal Danish Ballet in 1955 but he feared that something created for a smaller theatre would look modest compared to the scale of the Russian production. Ashton, then Artistic Director, suggested to the Board of Directors that MacMillan should undertake the task of creating a new version.

Steven McRae and Alina Cojocaru in The Royal Ballet's production of MacMillan's Romeo & Juliet. Photo: Bill Cooper / ROH ©

MacMillan had devised a balcony scene pas de deux for Lynn Seymour and Christopher Gable for a feature on Canadian television and once he received the go-ahead he started working on his first full-length ballet, nowadays one of Romeo and Juliet’s most definitive versions.

Designer Nicholas Georgiadis was inspired by Franco Zeffirelli‘s production of the Shakespearean tragedy for the Old Vic, in which the Capulets lived in a big fortress-like mansion. MacMillan wanted his ballet to be more realistic than romantic, with added contemporary touches. He wanted the young lovers to die painfully and to drop the reconciliation between Capulets and Montagues at the end of the play providing a different angle from the Lavrovsky & Cranko versions.

The ballet was choreographed on Seymour and Gable as Juliet and Romeo. As usual, MacMillan explored the role of the outsider in his portrayal of Juliet, a headstrong and opinionated girl who breaks away from her family. He started with the pas de deux (the highlights of this staging) and drew on the full company plus extras to set the town scenes.

While work was in progress Covent Garden management delivered the blow that Fonteyn and Nureyev would be first cast Juliet and Romeo, a shock to MacMillan, to Ashton (who had expected them as a first cast for the US tour  only) and to dancers Seymour and Gable who had to teach their roles and resign themselves to a lower spot on the bill.

Artists of The Royal Ballet in Kenneth MacMillan's Romeo and Juliet. Photo: Dee Conway / ROH ©

MacMillan’s pleas to Covent Garden management to keep Seymour and Gable in the premiere were in vain. His Romeo and Juliet premiered on February 9, 1965, with Fonteyn and Nureyev taking 43 curtain calls over a 40 minute applause. In the US it quickly became the best known version of the Prokofiev ballet. Besides the Royal Ballet, the ballet is also part of the regular repertory of American Ballet Theatre, The Royal Swedish Ballet and Birmingham Royal Ballet (with designs by Paul Andrews).

Story

You probably don’t need our help with this one. Regardless of version the storyline remains more or less the same:

Act I

Scene 1. The Market Place in Verona

It’s early hours in Verona. Romeo unsucessfully tries to woo Rosaline and is consoled by his friends Mercutio and Benvolio. As the market awakens and street trading starts a quarrel breaks out between the Montagues and the Capulets. Tybalt, Lord Capulet’s nephew, provokes Romeo’s group and the sword fighting begins with both Lord Montague and Lord Capulet joining in. Escalus, the Prince (or Duke) of Verona, enters and commands the families to cease fighting and issues a death penalty for any further bloodshed.

Scene 2. Juliet and her Nurse at the Capulet House

Lord Capulet’s only daughter Juliet is playing with her nurse. Her parents enter her chambers and inform Juliet of her impending engagement to the wealthy noblement Paris to whom she is to be formally introduced at the evening’s ball. In MacMillan’s version Juliet’s introduction to Paris happens at this point.

Scene 3. Outside the Capulet House

Guests are seen arriving at the Capulets’. Romeo,  still in pursuit of Rosaline, makes his way into the ball in disguise accompanied by Mercutio and Benvolio.

Scenes 4 & 5. The Ballroom & Outside the Capulet House

At the ball all eyes are on Juliet as she dances with her friends. Romeo becomes so entranced by her that he completely ignores Mercutio’s attempts to distract him. As Juliet starts to notice Romeo his mask falls. Juliet is immediately bewitched but Tybalt recognises Romeo and orders him to leave. Lord Capulet intervenes and welcomes Romeo and his friends as guests. At this point in MacMillan’s staging we see inebriated guests leaving and Lord Capulet stopping Tybalt from pursuing Romeo.

Scene 6. Juliet’s Balcony

Later that night Juliet is unable to sleep and stands on her balcony thinking about Romeo. Just then he appears on the garden below and they both dance a passionate pas de deux where they express their mutual feelings.

Mariinsky's Vladimir Shlyarov and Yevgenia Obraztsova in Lavrovsky's Romeo and Juliet. Photo: Natalia Razina / Mariinsky Theatre ©

Mariinsky's Vladimir Shklyarov and Yevgenia Obraztsova in Lavrovsky's Romeo and Juliet. Photo: Natalia Razina / Mariinsky Theatre ©

Act II

Scenes 1 & 2. The Market Place & Friar Laurence’s Chapel

As festivities are being held at the marketplace Romeo daydreams about getting married to Juliet. His reverie is broken when Juliet’s nurse makes her way through the crowds bringing him Juliet’s letter with the acceptance to his proposal. The young couple is secretly married by Friar Laurence, who hopes the union will end the conflict between their respective families.

Scene 3. The Market Place

Tybalt enters interruping the festivities. He provokes Romeo, who now avoids the duel, realising he is now part of Juliet’s family. Mercutio is willing to engage with Tybalt and, in vain, Romeo attempts to stop them. Mercutio is fatally wounded by Tybalt. Romeo seeking to avenge his friend’s death finally yields to Tybalt’s provocations and kills him. Romeo must now flee before being discovered by Prince of Verona. Curtains close as Lady Capulet grieves over Tybalt’s dead body and her breakdown is particularly emphasised in Cranko’s staging.

José Martín as Mercutio and Thiago Soares as Tybalt in The Royal Ballet's production of MacMillan's Romeo and Juliet. Photo: Dee Conway / ROH ©

Act III

Scene 1. Juliet’s Bedroom

Romeo has spent his last night in Verona with Juliet but as dawn arrives he must flee for Mantua despite her pleas. To Juliet’s dismay Lord and Lady Capulet appear together with Paris to start preparations for the wedding. Juliet refuses to marry Paris and Lord Capulet threatens to disown her. In despair, Juliet seeks Friar Laurence’s counsel.

Scenes 2 & 3. Friar Laurence’s Chapel & Juliet’s Bedroom

Juliet begs Friar Laurence for help. He gives Juliet a sleeping potion that will make her fall into a deathlike sleep. This will make everyone believe Juliet is dead while the Friar will send for Romeo to rescue her. Juliet returns home and agrees to marry Paris. She drinks the potion and falls unconscious. Her friends and parents arrive the next morning and discover her lifeless.

Scene 4. The Capulet Family Crypt

Romeo has heard of Juliet’s death (in the Lavrovsky version we see Romeo break down in grief as the news are delivered to him) and has returned to Verona without having received Friar Laurence’s message. He enters the crypt disguised as a monk where he finds Paris by Juliet’s body. Stunned by grief, Romeo kills Paris (this is absent from Lavrovsky’s staging). Still believing Juliet to be dead Romeo drinks a vial of poison and collapses. Juliet awakes to find Romeo dead beside her. She stabs herself to join Romeo in death.

Epilogue (Lavrovsky version)

Both Montagues and Capulets gather together and reconcile before their children’s bodies.

Lauren Cuthbertson and Edward Watson in The Royal Ballet's production of MacMillan's Romeo & Juliet. Photo: Dee Conway / ROH ©

Videos:

Other versions

Prokofiev’s masterful composition for Romeo and Juliet is now better known than any other but a number of earlier and later productions of the ballet have been set to different scores and choreography:

  • Antony Tudor‘s Romeo and Juliet for Ballet Theatre, now ABT (1943), set to various pieces of music by Frederick Delius.

  • Sir Frederick Ashton’s Romeo and Juliet for The Royal Danish Ballet (1955). This is a signature Ashton piece with none of Lavrovsky’s influence (as Ashton had not yet seen that staging). Clips of the revival by London Festival Ballet with Katherine Healy as Juliet can be found here [link]

  • Maurice Béjart‘s  Romeo and Juliet (1966). Set to the music of Berlioz this version was presented at the Cirque Royal, Brussels. A video featuring Suzanne Farrell as Juliet and Jorge Donn as Romeo can be found here [link]

  • Rudolf Nureyev’s version for the London Festival Ballet (1977). Nureyev later reworked this same version for the Paris Opera Ballet (1984). The ballet is available on DVD with Monique Loudieres as Juliet and Manuel Legris as Romeo. Clips can be seen here [link]

  • John Neumeier‘s for the Frankfurt Ballet (1971). This version was restaged for his own Hamburg Ballet in 1974. It has also been further revised and staged by The Royal Danish Ballet. Clips can be seen here [link]

  • Yuri Grigorovich‘s version for the Bolshoi (1982) set to Prokofiev’s score. This version is still danced by the company.

  • Jean Christophe Maillot‘s Rómeo et Juliette for Les Ballets de Monte-Carlo (1996). This version has been staged by other companies, most recently by Pacific Northwest Ballet. A trailer can be found in PNBallet’s YT channel [link]

  • Peter Martins’s Romeo + Juliet for NYCB (2007). A series of videos following the ballet’s creative process can be found on NYCB‘s channel [link]

Music

Prokofiev’s score for Romeo and Juliet is considered one of the four greatest orchestral compositions for ballet (together with Tchaikovsky’s scores for Swan Lake, The Sleeping Beauty and The Nutcracker). He originally conceived the score as 53 sections linked by the dramatic elements of the story, each section named after the characters and/or situations in the ballet.

Like Tchaikovsky, Prokofiev developed leitmotifs for the characters. There are 7 themes for Juliet varying from her playful/girlish side in Act I to romantic and dramatic themes which follow her development into a woman in love and foreshadow the impending tragedy in Act III.

A quintessential Spotify / iPod playlist should include the three orchestra suites (Opus 64bis, Opus 64ter and Opus 101)

  1. Suite No 1. Folk Dance, The Street Awakens, Madrigal, The Arrival of Guests, Masks, Romeo and Juliet, Death of Tybalt.
  2. Suite No 2. Montagues and Capulets, Juliet the Young Girl, Dance, Romeo and Juliet before parting, Dance of the Girls with Lilies, Romeo at Juliet’s Grave.
  3. Suite No 3. Romeo at the Fountain, Morning Dance, Juliet, The Nurse, Morning Serenade, The Death of Juliet.

Mini-Biography

Choreography: Leonid Lavrovsky
Music: Sergei Prokofiev
Designs: Pyotr Williams
Original Cast: Galina Ulanova as Juliet and Konstantin Sergeyev as Romeo
Premiere: January 11, 1940, Kirov Theatre, Leningrad (now St. Petersburg).

Choregraphy: John Cranko
Music: Sergei Prokofiev
Designs: Jürgen Rose
Original Cast: Marcia Haydée as Juliet and Richard Crangun as Romeo
Premiere:December 2, 1962, Stuttgart.

Choreography: Kenneth MacMillan
Music: Sergei Prokofiev
Designs: Nicholas Georgiadis
Original Cast: Margot Fonteyn as Juliet and Rudolf Nureyev as Romeo
Premiere:February 9, 1965 at Covent Garden, London.

Sources and Further Information

  1. The Royal Ballet’s Romeo and Juliet (Kenneth MacMillan) Programme Notes, 2007/2008 Season.
  2. Romeo & Juliet entry at www.KennethMacmillan.com [link]
  3. Wikipedia entry for Prokofiev’s Romeo and Juliet score [link]
  4. Romeo and Juliet Notes (John Cranko) from National Ballet of Canada [link]
  5. Notes from Tbsili Opera and Ballet Theatre [link]
  6. Ballet Met Notes [link]
  7. Stuttgart Ballet Performance Notes at Cal Performances [link]
  8. Dedicated Romeo and Juliet. Dance review by Anna Kisselgoff. New York Times, July 1998 [link]
  9. From London, a Poetic Romeo that makes others seem prosy. Dance review by Anna Kisselgoff. New York Times, 1989 [link]
  10. Romeo and Juliet, Theatricality and Other Techniques of Expression by Katherine S. Healy. Following Sir Fred’s Steps, Ashton’s Legacy. Edited by Stephanie Jordan and Andrée Grau. Conference Proceedings, 1994 [link]
  11. Opposing Houses: Judith Mackrell on visions of Romeo and Juliet from Ashton and MacMillan. Dance review, The Independent. August, 1994 [link]

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The battle to become a professional ballerina is tough enough for a middle-class European girl. For [Isabella] Coracy, it often feels like an insurmountable challenge. “These are not one-night wonders,” Finzi says. “This is not The X Factor.”  Dom Philips and Sarah Maslin Nir reporting on “Only When I Dance” for The Times

While we wait for biopic Mao’s Last Dancer to hit UK screens and for Carlos Acosta’s own No Way Home to be filmed, documentary Only When I Dance (Vida Ballet), screened at the Barbican’s Brazilian Film Festival last October, provides a  present-day look at the challenges faced by impoverished aspiring young dancers, this time in the context of escaping the harsh environment of the Brazilian favelas.

Having missed it on the big screen due to the Mayerling madness which hit The Ballet Bag for several weeks in the autumn I was glad for the opportunity to catch this gripping, poignant tale on UK TV (Channel 4) during the Christmas holidays. Only When I Dance follows two Brazilian ballet students, Irlan dos Santos Silva and Isabella Coracy. Both hail from favelas in the outskirts of Rio de Janeiro, definitely not your usual ballet dancer breeding ground. Thanks to scholarships and the foresight of headteacher Mariza Estrella (who won the “OUTSTANDING TEACHER AWARD” at Youth America Grand Prix in 2008) they are students in the same school where Royal Ballet Principal dancer Thiago Soares trained.

For the perfectly proportioned Irlan, one of the school’s most remarkable students, dreams of a professional career in ballet do not seem unattainable: as long as he passes school exams and continues to work hard, the chips might fall in the right places, especially if he manages to win a Prix de Lausanne scholarship. Of course nothing ever comes easy in the world of ballet but Irlan’s road seems much less bumpy than hard-working Isabella’s. Black, curvy and extremely graceful yet-no-virtuoso, her odds of securing a contract with a major ballet company are less favourable and she is well aware of this. While Irlan appears more confident about future options, she timidly says to the camera that her dream is “to perhaps dance in a classical ballet company”.

Director Beadie Finzi’s initial idea was to follow Irlan’s story exclusively but she was persuaded by Ms. Estrella that Isabella’s tale would make for an interesting contrast. This clever headteacher probably saw a chance to raise awareness to Isabella’s plight, a cause which seems very dear to her heart. During discussions and counselling with the Coracy family we see a realistic and yet encouraging Ms. Estrella as she hopes to see Isabella fight back and overcome professional obstacles. We also see Isabella’s supportive family struggle to arrange funds so that she can travel to YAGP where she hopes to win an award. From tears and the threat of injury to hope and back to tears, her story is what really makes the movie such an honest, riveting tale of holding on to your dreams. As her father Toti says “victory comes easy for those born rich, but the rest of us have to fight”.

Warning: Spoilers Ahead!

It is heartwarming to see Irlan achieve his dream of trading the dangerous grounds of the favela for a “better and calmer place” but a pity that the movie focuses so much of its final moments on his success (he is hired by ABT2) while neglecting to dwell on what might become of Isabella. Thanks to this article from The Times we discover she has secured a contract with a well known local ballet company and that she too is about to make her dreams come true.

Only When I Dance elsewhere on the web:

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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)

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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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Now that we know what both the Royal Ballet’s and the Sadler’s Wells’ 2009/2010 dance seasons look like, it’s time to start penciling in dates, drawing cast plans, organizing bookings and, most importantly, cancelling any previous engagements. Because the autumn/winter dance season, after the starvation of summer months, supersedes anything else we may have had in the pipeline (weddings, birthdays, christenings…). Seriously.

Here are some of the treats we will be bagging:

October

Mayerling (Royal Ballet)

MacMillan’s gritty and sleazy classic will be back with solid casts – Ed Watson & Mara Galeazzi, Johan Kobborg & ? (since Alina’s online diary indicates she might not be dancing this, we’d love to see Leanne Benjamin) as well as some interesting debuts for Rupert Pennefather & Melissa Hamilton, Thiago Soares & Lauren Cuthbertson.

In the Spirit of Diaghilev (Sadler’s Wells)

Choreographers Sidi Larbi Cherkaoui / Javier De Frutos / Russell Maliphant & Wayne McGregor set about breaking new choreographic ground whilst paying homage to 100 year old Ballets Russes.

Morphoses (Sadler’s Wells)

Christopher Wheeldon joins in the Diaghilev fun with a special Ballets Russes selection of his own. We are thrilled to see Ed Watson (officially the busiest Royal Ballet dancer in the 2008/2009 season and going for another record, lucky we!), Wendy Whelan and young Beatriz Stix-Brunell still with Morphoses for this new season.

November

Agon/Sphinx/New McGregor (Royal Ballet)

The first – and very edgy looking – triple bill of the season provides the opportunity to see the dream team of Cojocaru, McRae and Polunin again in a new production of Glen Tetley‘s Sphinx. Along with a new McGregor. We can’t wait.

December

Carlos Acosta (Sadler’s Wells)

The bravura boss will be back at the Wells to perform Balanchine’s Apollo plus Jerome Robbins’ A Suite of Dances and Afternoon of a Faun. We think Sadler’s has gone a little “Ballets Russes PR happy” in comparing the man (albeit indirectly) to Nijinsky, but we forgive them: seeing Apollo in the programme is more than enough to lure us in.

The Nutcracker (Royal Ballet)

These days The Nutcracker is the most regular staple in the RB’s repertoire (I guess it’s trying to play catch with those 940+ Swan Lakes) but who can resist when high flyer Sergei Polunin is one of the princes? Plus, given that I can’t be bothered with yuletide decorations this is my only chance of seeing a proper Christmas tree.

For more information, refer to the official press releases by The Royal Ballet and Sadler’s Wells:

The Royal Ballet 2009/2010 Season

Sadler’s Wells Autumn 2009 Season

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One of the attractions of a triple bill vs. a full-length ballet is the opportunity to discover a mix of different choreographers and dance styles, so that by the end of the evening you should find at least one ballet that is right for you. There is also the chance to discover up-and-coming dancers alongside starrier performers, since the young ones often start tackling bigger roles in shorter pieces before moving up the ladder to the meatier classics.

Take for instance Royal Ballet artist Melissa Hamilton who was absolutely eye popping in last year’s Infra, a thrilling one act ballet by Wayne McGregor. Despite being a recent arrival in the Company, Melissa made a huge impact in a demanding work that displayed some of the Royal Ballet’s most amazing and experienced dancers (Edward Watson and Marianela Nuñez to name but a few). She is now due to appear in her first full length leading role next season (dancing with Rupert Pennefather in Mayerling). Having seen her in Infra and in Christopher Wheeldon‘s DGV – another short work – means we will be buying a ticket with confidence.

The Kostchei and the Firebird. Copyright by its respective owner. (Source: Royal Opera House)

The Kostcheï and the Firebird. Copyright by its respective owner. (Source: Royal Opera House)

But back on the subject of triple bills, earlier this week I caught the latest Royal Ballet mixed programme which commemorates the 100 year anniversary of the Ballets Russes’ first season in Paris. On the bill are two indisputable classics: Les Sylphides and The Firebird (both by Mikhail Fokine), along with Sensorium, a new work by Alastair Marriott.

I was very much looking forward to Les Sylphides. I had never seen it before and Romantic ballets are just the thing for me. I simply adore the slow moving “tableaux” feel of Balanchine’s Emeralds, another “ballet of mood”. But despite a great cast (which included Yuhui Choe, Lauren Cuthbertson, Laura Morera and Johan Kobborg) and the poetic Chopin score, I could not feel the “mood”. Maybe the moonlit setting failed to shine or maybe the dancers need time to adjust to a work that has not been performed for quite some time. I also wondered whether slow was giving way to plain static in places, although the pace of conducting seemed to pick up in the Mazurka and the Pas de Deux. Perhaps I was also too distracted by the ballerinas’ headdresses which looked rather like helmets, but for me the magic that the Royal Ballet usually brings to the Romantic classics did not fully materialise here.

If Les Sylphides lacked mood, Sensorium had too much of it I thought. The choreography and indeed the dancers (Rupert Pennefather, Alexandra Ansanelli, Leanne Benjamin, Thomas Whitehead) are impeccable but the work was too neat and reverential. I longed for something faster, more innovative and colourful. This  thankfully is something that The Firebird provided. Despite being a 100 year old ballet it is one of the liveliest, most colourful pieces in the Royal Ballet’s repertory. Mara Galeazzi, not just a Firebird, but a “Fiery” bird, showed off her beautiful fluid arms, frantically expressing through them her fear and frustration whilst imprisoned by Thiago Soares’s Ivan. The scene at the Immortal Kostcheï’s domains where dozens of enchanted creatures come out to scare Ivan manages to be at same time as scary as a child’s nightmare and greatly amusing, thanks to the superb Gary Avis and his impeccable comic timing. The final tableau which depicts with more colour than dance the Tzarevich’s coronation speaks volumes of the Russian roots of this wonderful classic. Stravinsky’s music is thrilling. So 1 out of 3 for the evening overall, but sometimes that is all one needs.

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