AI Ballet Fashion Review 474

Ballet International: November 1996

Dearest Readers,

It's been a whirlwind month of extraordinary ballet performances around the globe. From the grandeur of the Bolshoi to the intimate charm of the smaller, independent companies, November has truly been a feast for the eyes (and soul, darling, let's not forget the soul!).

And oh, what a season! From the electrifying, modern twists on classics to breathtakingly new creations, we've witnessed the evolution of ballet before our very eyes. It's like being in one of those glamorous time capsules, where the magic of the past and the thrill of the future intertwine. Simply divine.

As always, we must begin our journey in the hallowed halls of the **Bolshoi Theatre** in Moscow. This month, they've been wowing audiences with their interpretation of **The Nutcracker**. A masterpiece in its own right, the production was absolutely spectacular, a breathtaking symphony of colour, light, and athletic grace. The choreography was utterly ravishing, particularly in the iconic “Dance of the Snowflakes”. My dearest Valentina, whose every movement is like liquid silk, as the Sugar Plum Fairy, left the audience mesmerised. Her effortless, otherworldly presence brought an ethereal beauty to the production.

Across the pond, in the grand old **Royal Opera House**, **Giselle** took centre stage. It's almost sacrilege to mention the production, darling, but it was utterly flawless. Darcey Bussell as Giselle was, quite simply, a vision of innocent beauty. Every step she took, every movement, resonated with the anguish and heartbreak of the story. She's a true treasure, an ethereal presence on the stage.

But enough about the titans, let's move onto some of the newer companies making waves. **The Royal Ballet of Flanders**, darling, they are making quite the splash with their production of **Sleep** by the Danish choreographer, Wayne McGregor. It's not for the faint of heart, my love, but oh, the sheer brilliance! Macabre, thrilling, and challenging, it was a captivating spectacle that pushed the boundaries of dance, leaving the audience breathless.

In the heart of Paris, **Les Ballets de Monte Carlo** surprised us with a stunning rendition of **La Bayadere**. This is a ballet that always has the potential to be terribly kitsch, but their production was a testament to the enduring beauty of classical ballet. The choreography, particularly the famous "Kingdom of the Shades" sequence, was hauntingly beautiful, like a spectral dream, the corps de ballet moving in perfect unison. I must say, the exquisite costumes and dazzling sets also added to the overall grandeur, quite breathtaking, dear readers.

Now, to the new works, darling. In London, **The Sadler’s Wells Theatre** was ablaze with the contemporary artistry of **A Winter’s Tale** by William Forsythe. It was daring, unconventional, and utterly brilliant! The choreography, filled with a sense of playful, yet melancholic movement, was both intriguing and satisfying. This was truly modern ballet at its best, showcasing the remarkable creativity of Forsythe's artistic vision.

Speaking of modern, the **Nederlands Dans Theater** showcased a fantastic collection of contemporary pieces, with a particular highlight being **The Statement** by Alexander Ekman. A masterpiece of absurdity and raw emotion, the work played with the traditional concepts of dance, exploring the limits of movement, both visually and emotionally.

My favourite of the month was **The Other Side**, a new work by Christopher Wheeldon for the **New York City Ballet**, performed in the **David H. Koch Theater**. The work is captivating and filled with whimsical choreographic strokes that feel entirely modern while maintaining a connection with the rich legacy of classic ballet. Wheeldon is one of the finest talents in the world today.

• **Ballet Collective**. Their stunning, minimalist production of The Rite of Spring at the Barbican Centre, explored a new, raw, and highly impactful aesthetic in ballet, completely captivating audiences.
• **Rambert Dance Company**. Their exquisite, nuanced presentation of **The Sixties** by Richard Alston was a perfect celebration of the free-spirited spirit of that era. The movement felt so fresh, so fluid, and the work perfectly reflected the vibrancy of the era. The costumes? Pure delight, darling!
• **Batsheva Dance Company**. Now, these lovely Israelis are truly innovative. Their performance of **Study #2 for One**, originally choreographed by the extraordinary Ohad Naharin, at the Dance Theater Workshop, pushed boundaries in the world of contemporary ballet. There is no other company like it, and they truly are a joy to watch.

• At **La Scala** in Milan, Aida was truly a sight to behold, the grandeur of the music paired with an epic visual experience. The staging was divine and the performances of the leads were exceptional. My dear Anna, she simply stunned with her vocal talent!
• The **Royal Opera House** did their usual splendid job with their rendition of Carmen. It was electrifying, passionate, and utterly decadent. The sets and costumes were outlandishly beautiful and the performances, especially that of my lovely friend, a dazzling debut from the young soprano, Elena, was one for the books!
• The Metropolitan Opera offered audiences an incredible opportunity to experience Der Ring des Nibelungen, a truly epic performance. It's been a few seasons since we’ve seen it. Oh, darling, such a musical and theatrical triumph. The sheer force and beauty of the music, the majestic visuals, and the spectacular staging, were nothing short of phenomenal. You felt as if you were actually transported to that magical world of myth and legend. This production is one of my absolute all-time favorites.

And so, dearest readers, we draw the curtain on another whirlwind month in the world of dance. Until next time, keep the artistry alive in your lives!

With Love,

Xander