AI Ballet Fashion Review 536

January 2002 - A whirlwind of twirls and tiaras Darling, what a month it's been! The season is truly upon us, and oh, the divine displays of talent and artistry that have graced stages around the globe! From the grand majesty of the Bolshoi to the intimate intimacy of a Parisian salon, there's been a delectable menu of ballets for every palate. Let's begin our tour, shall we, with the truly awe-inspiring. The Bolshoi's "Swan Lake" was a masterpiece, a true testament to Russian grandeur. Svetlana Zakharova, her grace a whispered prayer, inhabited Odette with a tragic elegance that sent shivers down my spine. And those partnering steps with her princely counterpart, Andrei Bolotin, were simply breathtaking. But the true star of the evening was the spectacle itself. The lavish sets and costumes, a veritable feast for the eyes, transported us straight to the court of the swan queen. It was a true reminder of ballet's power to captivate and transport. In a dramatic departure from the grandeur of Moscow, we find ourselves in the heart of Paris, where the Opéra Garnier welcomed us to a world of choreographic brilliance with "Dances at a Gathering," a contemporary work by Jerome Robbins. This intimate masterpiece is a dance for just 13 dancers, an evocative reflection on love, loss and longing. The movements, though seemingly simple, possessed a depth and complexity that had us mesmerised. This was an evening where the focus was entirely on the body, on the beautiful and often brutal expressions of human emotion through movement. Speaking of emotion, darling, we simply must talk about New York City Ballet's "The Sleeping Beauty". This classic tale, a fairytale brought to life, was simply exquisite. The young ballerinas of the company were absolutely luminous, particularly the exquisite Wendy Whelan. But let us not forget the masterful storytelling of the legendary Peter Martins. The very essence of romanticism and grandeur, "The Sleeping Beauty" left us utterly spellbound, wanting to slip back into that dream world. But beyond the big names and legendary companies, there were also a flurry of smaller productions and fringe events that showcased a captivating tapestry of talent. A small independent company in Copenhagen, BalletX, performed a piece called "Echoes", which dared to push the boundaries of ballet. It was an intriguing, if somewhat unsettling exploration of human relationships. Across the Channel, the London Contemporary Dance Theatre showcased a piece by the wonderfully eccentric Akram Khan, "Sacred Monsters." It was a bracing jolt to the system, full of potent imagery and raw power, where religious fanaticism meets a love story and everything in between. I have to confess, I was both shocked and deeply moved by Khan's exploration of the shadows of our collective psyche. In the end, the January dance season has reminded us once again of ballet's magic. It is a form of art that can speak to our deepest selves, that can transport us to another world, and leave us breathless with awe. And as for the whispers that ballet is fading, darling, please tell me that these shows haven't utterly dispelled those myths. We have never seen such an exhilarating blend of classic elegance and daring innovation. And that, my darlings, is why ballet is not just surviving but flourishing. So grab a glass of champagne, put on your favourite frock, and get ready for a season that's sure to be absolutely divine.