AI Ballet Fashion Review 616

September: A Whirlwind of Ballet Brilliance September has been a truly dazzling month for ballet enthusiasts, offering a plethora of performances that have left me utterly captivated. From the grandeur of the Bolshoi to the intimacy of smaller, independent companies, there has been something to delight every taste. A Royal Affair in London The Royal Ballet, my absolute darling of the dance world, has once again dazzled audiences at the Royal Opera House. This month saw a stunning revival of **"La Bayadère"**, which proved to be an absolutely breathtaking experience. The choreography, resplendent in its Eastern-inspired grace, was simply sublime. The costumes were truly exquisite - layers upon layers of tulle and shimmering jewels. The sheer spectacle of the production left me feeling as if I had been transported to another world. Marianela Nuñez, as Nikiya, was divine. Her performance was filled with passion and a deep sense of longing. Her arabesques were like swans gliding through the air, and her leaps were simply spectacular. The male role, Solor, was danced by the elegant and captivating Steven McRae. Their pas de deux were a symphony of love and loss. Their chemistry was undeniable and their bodies seemed to move as one. I also found myself enthralled by the ethereal beauty of the "Kingdom of the Shades" scene. The corps de ballet was heavenly in its unison and precision, and the sheer elegance of the movements was almost otherworldly. However, "La Bayadère" was not the only triumph of the month. The company also presented a new production of **"The Winter's Tale"**, a bold and imaginative work by choreographer Wayne McGregor. It was, however, a mixed bag, a little less polished than the revivals, and less immediately impactful. It was a curious and daring attempt to reimagine a Shakespearean drama in ballet form, with the choreography drawing inspiration from Shakespeare’s text and the original source story by Robert Greene. It’s always thrilling to see choreographers exploring new territories. The ballet’s story unfolded with impressive visual flair and innovative costume design and featured McGregor's signature blend of athleticism, dynamic energy and unexpected beauty, although his approach to ballet doesn't necessarily always suit all the company's dancers, particularly those who don’t quite possess his natural athleticism. This certainly didn’t feel like an immediate classic but more an interesting artistic exploration with its fair share of daringly creative elements. Across the Pond: A Stellar American Debut I had the distinct pleasure of experiencing **"The American Ballet Theatre's"** (ABT) debut in London at the Sadler's Wells Theatre, an exciting new addition to the UK ballet scene. The company's opening night performance of **"Whipped Cream"** (which is apparently a favourite of Her Majesty the Queen) was a delight from start to finish, and the production's delightful theatricality resonated with me in particular. This whimsical confection by Alexei Ratmansky, a choreographer who has a unique and delightful knack for creating ballets that combine lighthearted charm and impressive virtuosity, had me in stitches with its imaginative staging and exquisite costuming. The dancers were truly wonderful; the ensemble was beautifully balanced and each corps member was committed and attentive to their role within the overall effect. However, the real highlights for me were the stellar principal dancers Isabella Boylston and Herman Cornejo, who were both fantastically engaging as the leads, the seductive Princess Truffle and the dashing Franz, their energy palpable throughout, even when on stage for almost the entirety of the ballet. Cornejo was superb, full of lightness and joy, his every step a testament to technical mastery and exquisite performance. This production is a rare treat: a delicious blend of exquisite artistry, charming storytelling, and pure entertainment value, and one which left me utterly charmed. Across the Continent Travelling further afield, my next ballet adventure brought me to the Bolshoi Theatre in Moscow, home to the illustrious **Bolshoi Ballet**, an institution steeped in history. The sheer grandeur of the theatre is breathtaking, a reminder of a bygone era when ballet was the epitome of luxury and refinement. This month saw a dazzling rendition of **"Giselle",** a classic ballet that never fails to captivate. The first act was simply magical - the idyllic country setting with the delicate beauty of the flowers and the exquisite dancing was simply beautiful. As for the "Mad Scene", Giselle’s breakdown, in the second act, the powerful drama was made truly chilling, if not disturbingly upsetting in its execution. Olga Smirnova was truly mesmerising in the role of Giselle. The expressive beauty of her movements, and the intensity of her portrayal of the innocent, yet desperate maiden were remarkable. Her interpretation was as emotionally truthful as it was technically demanding and stunning to watch, although to be fair, I'm rarely disappointed by a Russian ballerina's ability to pull on my heartstrings, and Smirnova was particularly captivating in this role, especially her heart-rending second-act performance. Her portrayal of Giselle’s madness was completely credible and incredibly well executed. This was an experience that will stay with me for a long time to come, even if it took all my self-control to stay dry-eyed for much of the final scene. Small but Mighty However, my ballet journey didn’t stop at the major theatres. I discovered some absolute gems amongst smaller ballet companies, companies with an inherent passion for pushing boundaries, presenting something utterly original. For example, at the DanceHouse in London, I caught **"The New English Ballet Theatre"** (NEBT), who truly delighted me with their unique take on **"Cinderella".** The production felt refreshingly new and the dancing, performed in a unique, modern style, with breathtaking agility and effortless movement, kept me completely enthralled throughout. Finally, at the wonderful intimate setting of the Peacock Theatre, the **Northern Ballet**, a truly vibrant and exciting company based in Leeds, presented **"The Little Mermaid".** This was an extraordinary production with exceptional and poignant choreography that I found particularly impressive for its ability to beautifully blend the enchanting nature of the fairytale with the beauty of ballet itself. The dancers, including their superb soloist, Hannah Bateman, moved with precision, and at times, extraordinary elegance and captivating grace, telling this classic fairytale in a whole new, fresh and imaginative way, even with a live string quartet playing out in full view, something that often feels rather gimmicky. But not in this production - it added to the atmosphere beautifully. The Future of Dance In addition to these main-stage performances, I was fortunate enough to catch a glimpse of the future of dance by attending several workshops and competitions. Young dancers from all over the world are taking the stage, bringing with them new energy and fresh perspectives. In fact, I’m absolutely thrilled about the energy that I’m sensing amongst today’s emerging dancers and am excited to watch them take on the future. There has never been a better time to be a ballet enthusiast. So, put on your dancing shoes, dear readers, and enjoy the whirl of artistry and the thrill of watching such incredible talent unfold. September has truly been a month to remember.