My dears, what a year it's been! The world of ballet has been positively dazzling, with everything from the tried and true to the utterly avant-garde taking to the stage. Let's take a trip around the globe, shall we, and reminisce about the highlights of our beloved dance scene. Paris, Darling, Always Paris
The City of Lights never disappoints, and 2000 was no exception. The Paris Opera Ballet, under the magnificent direction of Brigitte Lefèvre, simply shimmered. In January, a breathtaking revival of *La Bayadère* proved to be a glorious triumph for Sylvie Guillem. She was, as ever, perfection incarnate, radiating strength, elegance and heartbreaking emotion as Nikiya. The corps de ballet was nothing short of spectacular, and the choreography was pure, glorious Petipa. Then there was a ravishing production of *Romeo and Juliet*, with a beautiful and passionate performance by a radiant Agnès Letestu. It was sheer poetry in motion. And who can forget the glittering new staging of *Le Corsaire* by Pierre Lacotte? An absolute feast for the eyes! The costumes were to die for, and the grand spectacle of the entire ensemble in action was thrilling, pure ballet fantasy. London Calling
Across the Channel, the Royal Ballet was buzzing. Let's start with the much-anticipated premiere of Sir Peter Wright's version of *The Sleeping Beauty* at the Royal Opera House. With a stunning design and a cast of superb dancers, this production captured the heart of London's discerning audiences. It was pure enchantment, an absolutely spellbinding masterpiece. Then came a rather controversial, though undeniably interesting, staging of *Swan Lake*. The sheer genius of Wayne McGregor in pushing the boundaries of ballet proved compelling and exciting for some, and too abstract for others. But one thing everyone agreed upon - the artistry of Darcey Bussell, always stunning and deeply expressive, was simply unparalleled. A Touch of New York
A trip to the Big Apple would be incomplete without visiting the New York City Ballet, a company that always sets the bar high. They were showcasing Christopher Wheeldon's dazzling *Polyphonia*, a work full of rhythmic energy, stunning jumps and impressive contemporary ballet, which simply exploded off the stage. Of course, no discussion about New York Ballet would be complete without a mention of Balanchine, a ballet deity! Their performance of his *Concerto Barocco* was breathtaking in its precision and purity of movement. International Adventures
Our ballet wanderlust took us all over the world! We couldn't resist a trip to Moscow for the Bolshoi's exquisite staging of *Giselle*, the heart of the romantic ballet world. The sheer dramatic force of their *Don Quixote* was astounding, with a sensational performance from the great Natalia Osipova. It's always thrilling to see dancers from such a distinguished company, renowned for their technically challenging and powerful performances. On a completely different note, we stumbled upon the Tokyo Ballet performing the delightfully charming *Swan Lake* in Tokyo's famed Kabuki-za theatre. The ballet itself felt like an exciting collaboration between the traditional ballet world and the vibrant theatricality of the Japanese performing arts scene. The exquisite costumes were utterly magical. Ballet Beyond the Ballet
Speaking of new experiences, 2000 also saw the emergence of fascinating crossover works blurring the lines between dance, music and other forms of artistic expression. We were mesmerized by the breathtaking visual performance *Moving Stillness* at the Barbican Centre in London. The stunning visual design was combined with the mesmerizing power of contemporary dance.
As always, there were exciting premieres. We caught the inaugural performance of " *Onegin" at the Royal Ballet in Covent Garden. The production was controversial, and caused quite a stir among critics. I felt, however, that there was real dramatic weight to this work, which used modern vocabulary with surprising results. Of course, nothing will ever quite match the sheer elegance and classic artistry of the Royal Ballet's production of *Sleeping Beauty*. The Future is Now
And finally, it was wonderful to see the emergence of such exciting young ballet companies this year, breathing new life into the artform and bringing their unique voices to the stage. There is an undeniable vibrancy to this era of ballet, and an thrilling sense of artistic exploration, innovation, and reinvention. A Personal Farewell
This year was certainly a memorable one, and I, for one, am thrilled to be immersed in this world. Until next year, darling, do take good care! And always remember, life is a ballet...