AI Ballet Fashion Review 575

A Month in Dance: April 2005

My darlings, it's April, and the world of ballet is, as ever, buzzing with new productions and thrilling performances. From the grandeur of Paris to the intimate charm of London's smaller theatres, we've had a whirlwind month of arabesques, fouettés, and everything in between. Let's delve into the highlights, shall we?

The Opéra Garnier, that dazzling monument to grand opera and classical ballet, was the setting for an unforgettable night. The étoile herself, Sylvie Guillem, in the most divine shade of emerald green, brought a fierceness and poetry to her interpretation of **Giselle**. Her technical prowess was breathtaking, her acting nuanced and heart-wrenching. The entire production, under the masterful direction of Rudolf Nureyev's former partner, Margot Fonteyn, was a symphony of graceful lines and dramatic tension, leaving the audience in rapturous applause.

In London, we had a delightful treat at the Royal Opera House, with the premiere of Matthew Bourne's latest production, **Play Without Words**. I must confess, I've been a huge fan of Matthew Bourne ever since his revolutionary interpretation of Swan Lake, and this production did not disappoint. With a masterful blend of dance, storytelling, and theatrical ingenuity, he explored the complexities of human emotions in a world of their own. The choreography was exquisite, fluid, and intensely engaging. A particular highlight was the scene with the four young men in suits, their movements sharp, precise, and charged with emotion. The costumes were fabulous - very chic, very modern, and beautifully tailored, giving a sense of understated elegance and strength to the entire ensemble.

Over in the States, the American Ballet Theatre took us on a thrilling ride with **The Dream**, a vibrant new production choreographed by Alexei Ratmansky, featuring original music by Tchaikovsky. The whole production is truly exciting – and I loved the playfulness and lightheartedness of the dancing. Ratmansky cleverly blends the romanticism of the original story with a contemporary flair. I couldn’t take my eyes off the costumes – so incredibly modern with the beautiful fabrics. Ratmansky’s choreography, coupled with the excellent partnering between the two leads, Isabella Boylston and David Hallberg, was an exhilarating spectacle. You could see that both were enjoying themselves immensely on stage - the chemistry was fantastic. I also found the costumes in this piece very chic and contemporary.

Across the pond, the Berlin State Ballet delighted audiences with their breathtaking interpretation of **Romeo and Juliet**, with an excellent performance by Natalia Osipova and Ivan Vasiliev. Osipova is simply incredible! A powerhouse on the stage. The choreography was classical with a modern edge, creating a stunningly effective spectacle that was both poignant and captivating. What impressed me the most was the choreography for the battle scene – a visual masterpiece, capturing the frantic energy and brutal nature of the battle without resorting to overt violence.

And last, but certainly not least, we had a delightful performance at the Dutch National Ballet with a new production of **The Sleeping Beauty**, a true triumph of classic ballet. Their production stayed close to the original, yet was fresh, imaginative, and visually striking. The staging was superbly atmospheric, and the corps de ballet moved like a single fluid entity, captivating the audience with their impeccable precision and elegant artistry. I must mention the stunning costumes – they are truly a masterpiece in their own right. A perfect blend of opulence and refinement, giving the dancers a real elegance and drama.

In addition to **Play Without Words**, the Royal Opera House hosted several other performances that captivated audiences throughout April. I do want to highlight **Swan Lake**. I attended one particular performance with a beautiful performance by Daria Klimentova as Odette/Odile – quite extraordinary – and with a dashing and very handsome Vadim Muntagirov as Prince Siegfried. They had tremendous chemistry, which brought out the passion of the dance in a most thrilling way. But I really loved the corps de ballet – just magical – their uniformity of movement, so elegant and ethereal. I saw many in the audience moved to tears with their breathtaking performances. And the costumes, I don’t even need to tell you. Beautiful and spectacular.

In the same spirit of bringing dance to the masses, The Royal Ballet continues its very successful programme of live performances to local audiences – this month bringing **Alice's Adventures in Wonderland** to Brighton. Such a perfect choice, given that it is set to the incredible music by Joby Talbot, with wonderfully inventive, whimsical choreography by Christopher Wheeldon – simply exquisite, and as charming as it is exciting.

In contrast, I did find myself a little less enthusiastic about the Sadler's Wells production of **Aida**, while I appreciate it was the only opera ballet production that was in London that month with an extremely talented dance troupe from Cuba, the Cuban National Ballet – there wasn't anything about the staging or the choreography that was truly spectacular or new. There’s a place for classic productions of course and I did think the dancers themselves deserve a huge amount of praise. They gave absolutely everything.

For those seeking something a bit more intimate, London’s Dance Umbrella, the capital’s largest showcase of contemporary dance and performing art, offers a whole host of eclectic performances at venues such as The Place Theatre and the Queen Elizabeth Hall. And there was also the fantastic Dance East which brought the London Contemporary Dance Theatre’s production of **Blindness** to the Barbican - quite an unforgettable evening for me. And speaking of London Contemporary Dance Theatre (LCDT), it’s worth mentioning that the troupe continues to receive enormous plaudits for its touring company, LCDT (Youth Dance England). They took **Solstice** to Sadler’s Wells last month and this dance troupe never fails to amaze. These youngsters really have something special – I loved the inventiveness and athleticism of **Solstice**, and the modern costumes had a sharp elegance.

I must confess that, beyond the world of ballet, my heart is always tugged towards the dazzling spectacle of musicals. London’s Palladium saw a glittering performance of **Grease** with a wonderful young talent – Peter Andre – giving a dazzling portrayal of Danny Zuko. The musical theatre classics never seem to fade in popularity – and the whole atmosphere of the performance – from the spectacular costumes and the lively choreography created a wonderfully immersive experience that I wouldn't trade for anything!

This is not even the half of it - we've also seen flamenco dancers stomping and swaying in Madrid, Irish dancers kicking up a storm in Dublin, and Japanese kabuki dancers mesmerizing audiences in Tokyo. It is clear that dance in all its myriad forms is thriving, pushing boundaries, challenging expectations, and captivating hearts and minds around the world.

So, darling readers, as you go forth into the springtime, keep your eyes open for a delightful, elegant, captivating dance performance near you – you just never know where you'll find yourself mesmerized by an incredible spectacle!

Until next month, darlings – and keep on dancing!

Sincerely,

Your Style Guru.