AI Ballet Fashion Review 599

Darling, it's been an absolute whirlwind of a month! From the shimmering grandeur of the Bolshoi to the daring, avant-garde creations in Paris, the ballet world has been positively buzzing. My calendar was crammed, and my stilettos have never worked harder. So let's dive in, shall we?

It all began with a trip to Moscow, darling. The Bolshoi, that grand dame of Russian ballet, was truly at the top of her game with a truly sublime revival of Swan Lake. The Bolshoi's Odette/Odile, the beautiful and technically flawless Maria Kochetkova, simply beguiled us with her crystalline technique, heartbreaking vulnerability and effortless stage presence. A true prima ballerina in the making. The men were not to be outdone! The partnership with the glorious and noble David Hallberg as Prince Siegfried was utterly perfect, the epitome of elegance and strength. One felt as if they were witnessing a true story unfolding right before one's very eyes. The rest of the cast - those fabulous corps de ballet ladies, and the wonderful men with their noble jumps and brilliant leaps- were quite frankly heavenly.

You see, darling, in Moscow the " Swan Lake" really does come alive - no cheap effects or tricks needed! There's this majestic energy that builds throughout the performance, fuelled by the vibrant musicality of the Tchaikovsky score and the masterful choreography of Marius Petipa. You're left wanting more! And believe me, darling, it's an unforgettable experience! And not forgetting the glittering, glittering, auditorium itself, it's like a fairytale. But then, it's Moscow, and everything is a tad more grand than back in dear old London.

From Moscow's grandeur I flew straight into the edgy elegance of Paris. A breath of fresh air, darling, in every way. My first stop, of course, was the Palais Garnier, an architectural triumph that really takes your breath away. Here I was treated to a production by the legendary Ballet de l'Opéra National de Paris. "Bolero", set to Ravel’s legendary piece was quite the experience, all soaring drama and raw energy. This, however, was more than a just a display of superb technique. It was about the power of dance, about how a choreographer like Maurice Béjart can manipulate a musical structure and create pure magic on stage. Yes, the costumes by Christian Lacroix were eye-poppingly stunning, darling, but the real magic was in the movements - both graceful and raw. Béjart's ballet is all about individuality and freedom, about pushing boundaries and, let's face it, being just a tad bit provocative - perfectly reflecting the French spirit.

Now, let’s take a trip north to Copenhagen, for the ultimate in elegance. Darling, I'm not known for my restraint - my shoe collection can attest to that! - so of course I couldn’t miss the Royal Danish Ballet at the breathtaking Copenhagen Opera House. "Giselle" was a stunning spectacle - yes, the usual, I know, but so effortlessly graceful. It felt as if these dancers were born for these roles, you could practically hear their steps before you saw them. The Royal Danish Ballet has always been the epitome of classic, precise technique, but their rendition of “Giselle" had this added layer of emotion that brought the drama to the forefront. It was breathtaking. And you simply must see the "Giselle" costumes - so delicately, subtly exquisite and a symphony in pale pink tulle and delicate white. All quite perfect! The Danish have mastered the art of classicism, my dear. The choreography is meticulously crafted, and each dancer performs with absolute precision, each step impeccably placed. This performance left me positively swooning - the Danes certainly know how to weave their magic.

From Copenhagen’s classical charm, my journey took me to New York. And my darling, if Paris has a touch of rebellion and the Danes are pure elegance, New York has an unmistakable, undeniable vibe: raw energy, fierce expression. It's all there in a New York minute, as they say.

This time it was New York City Ballet that took me on a thrilling ride at the legendary Lincoln Center, at a performance of George Balanchine’s "Symphony in C". Now darling, Balanchine is a genius, of course. He understands the human body so well. But "Symphony in C", this is more than just choreography - it is art. There’s the beauty and power of dance - an utter expression of freedom of the body in space. This performance by New York City Ballet was truly spectacular - every move, every dancer a whirlwind of precision. The music, the dancing, and the choreography seemed to intertwine seamlessly.

Speaking of stars, darling, you cannot talk about ballet in 2007 without mentioning a certain dancer whose rise has taken the ballet world by storm. I'm talking about the fantastic Sylvie Guillem. Guillem, as she’s known around the world, continues to fascinate, with a kind of primal energy. Guillem performed in a production of “L’Apres-midi d'un faune" at The Royal Opera House. You know the one, with Nijinsky’s choreography, darling, this time for the Ballets de l'Opéra National de Paris, now with the stunning, dark lighting by Jean Kalman, adding to the mystique and mystery of the ballet. There was an intensity in the movements, in the dance itself. Guillem gave us a kind of animalistic dance but with incredible artistry. A force of nature, that's Sylvie.

But darling, there’s more to the ballet world than just productions and performances. This past month, I have found myself fascinated by the “The Ballet’s Best” exhibition at London's Victoria & Albert Museum. You can walk through the history of dance with exquisite costumes and fascinating sketches. But more than that, it really takes you to a different world - one that is all about art, craftsmanship and sheer talent.

Let's not forget that this is a time for new talent! From the Royal Ballet School to the Bolshoi and Paris, young choreographers are coming into their own. What excites me is that they are bringing new voices to the ballet world, pushing boundaries, and finding new ways to tell stories, or perhaps simply express the human experience in new and exhilarating ways. The future, darling, looks truly promising - one brimming with potential.

This season's ballets are all about bringing drama and glamour to the stage. We are seeing a return of traditional, romantic lines and bold colors. Tutus? They are making a magnificent return, darling! Lots of shimmering gold, rich hues of sapphire and ruby. And then there's the more avant-garde, dare-I-say - sexy side of ballet. Think dramatic black silks, and slashes of scarlet. We are in the era of a more audacious ballet look - one that dares to be provocative and express its fiery femininity, but with grace. I'm positively obsessed, and my shoe collection has certainly reflected this! You simply must get yourself a pair of red, red stilettos for that evening event! A definite must.