January 1999 - The Season Begins
Darling, can you believe it's January already? It seems like only yesterday we were all sipping champagne at the Royal Opera House after the *Nutcracker* and now we're hurtling towards spring and, let's face it, the glorious abundance of ballet the coming months promise. But fear not, my dears, this seasoned ballet buff is here to guide you through the dizzying kaleidoscope of performances and keep your dance diaries brimming with delights.
First up, a trip across the Channel to Paris, where the Ballet de l'Opéra National de Paris has begun their season with a revival of *Giselle*, and let me tell you, this is one Giselle not to miss. I confess I had my reservations about étoile Sylvie Guillem's return to the role after her much-discussed departure. I needn't have worried. She's like a fine vintage wine – aged beautifully. Her performance was breathtaking, a tour-de-force of strength and tenderness, laced with an air of melancholic grace that simply left you spellbound.
The supporting cast played their part to perfection – the exquisitely ethereal Myriam Ould Braham as Myrtha, and the utterly captivating Nicolas Le Riche as Albrecht, their passionate duet in Act II a masterful display of artistry. Of course, no discussion of a Parisian *Giselle* is complete without mentioning the stunning costumes, the gorgeous Romantic-era tutus that seem to float above the dancers. I'd be remiss not to also acknowledge the breathtaking performance from the corps de ballet, every movement echoing the exquisite grandeur of the Opéra's historical setting. A simply divine start to the year!
Next on our international ballet safari we arrive at New York's Metropolitan Opera House, where the New York City Ballet is celebrating its 50th anniversary with a programme dedicated to its iconic founders, George Balanchine and Lincoln Kirstein. This was an emotional spectacle of ballets that truly defined an era. It felt as though the very spirit of Balanchine's visionary choreography was dancing on stage, bringing with it a potent mixture of playfulness and raw, exhilarating energy.
There were some particularly stunning performances. The radiant ballerina Maria Kowroski, her dancing as clear and crystalline as the winter ice on a frozen lake. The incomparable Wendy Whelan, her precision and technical prowess simply awe-inspiring. It was almost overwhelming, to be surrounded by such artistry and technical brilliance.
While we're in America, it would be a crime not to mention the Boston Ballet's recent staging of *Romeo and Juliet* - a bold take on a timeless tale. This performance struck a poignant chord and had me in tears on more than one occasion. The passion, the heartbreak, and the tragedy were all so perfectly captured, leaving a lingering resonance. A truly unforgettable experience, my darlings.
However, as wonderful as these international delights have been, it would be a disservice to my devoted readership not to celebrate the extraordinary talent brewing closer to home. The Royal Ballet has begun the year in fine form. Their opening programme featured a new work by Christopher Wheeldon – *Polyphony*. The critics were not quite as ecstatic as usual about this ballet, finding it a bit too formal and a tad predictable.
But my dear friends, you don’t judge an artist on their first try, and *Polyphony* had much to admire. Wheeldon is a visionary, that’s for certain, and the ballet boasts some truly dazzling moments – notably the dynamic, fluid partnering that Wheeldon is so known for. A truly exquisite display of technical prowess, the Royal’s dancers held you mesmerized with their intricate steps and seamless coordination. This ballet certainly offers something new and unique and a refreshing twist to the usual repertoire.
Now, let's talk about some events outside the ballet world that have caught my attention. I have a real soft spot for art of all forms and am completely enamored by the recent show at the Tate Modern titled “Modern Life: Artists in London 1945 - 1964”. The exhibition delves into a fascinating period in post-war British art and features an impressive selection of works from iconic artists like Francis Bacon, Lucian Freud, and David Hockney, whose gritty yet incredibly powerful paintings transport you back to the vibrant, rebellious cultural scene of London during that time. I was particularly captivated by the use of bold colors, the raw expression of emotions, and the captivating portrayals of the human condition – a striking reflection of the social, political, and artistic ferment of those years.
And then there was the exhibition “Dance as Design” at the Victoria and Albert Museum, a beautifully curated display of costumes, stage designs, and photographs celebrating the artistry of ballet, specifically through the lens of fashion and design. I was absolutely enchanted by the ingenious costumes and stage sets from some of my favorite productions, from *Swan Lake* to *Giselle* – it's like they have captured the essence of the dance itself in the very form of the garment. I urge all my lovely readers to catch it while you can – a truly beautiful and unique exhibition.
The first few weeks of 1999 have already been so incredibly enriching for the art lover and the ballet aficionado, it almost feels impossible to keep up, yet somehow I manage, my dear. Stay tuned next month as we delve deeper into the captivating world of dance – we have a ton of performances to dissect and share our opinions on everything from the latest contemporary creations to the inevitable revivals of the great classics.
Until then, happy viewing, and do remember to let me know if you have any suggestions or are particularly intrigued by a production you wish to read more about. I’m here to serve, darling.
And as always, au revoir and until next month!
Love,
Vanessa.