AI Ballet Fashion Review 631

A Dance Diary: December 2009

Darling, oh darling, what a month for ballet! November flew by like a whisper of tulle and I haven't even had time to catch my breath from the flurry of opening nights and premieres. We are absolutely swimming in beautiful productions. So sit back with a glass of something sparkly and let's delve into this month's balletic feast.

As ever, the Royal Opera House was ablaze with excitement when the Bolshoi Ballet arrived with a program to rival a Tsarina's Christmas feast. They, quite literally, had it all – a magnificent ‘Don Quixote,’ an explosive ‘Spartak’ and a heart-melting ‘Jewels.’ Oh, and we mustn’t forget the ‘Swan Lake,’ all soaring artistry and balletic bravura.

The stars, my dear, simply shone. Svetlana Zakharova – a gazelle on pointe! – simply soared as Kitri. She and David Hallberg – a true romantic prince – set the stage alight with their love story. And what about the legendary Vladimir Malakhov, who is the very embodiment of elegance and strength? The audience, as I’m sure you can imagine, was utterly spellbound by every moment.

A touch of sadness at the end, though, when dear Vladimir announced he is leaving the Bolshoi. One era ends, another begins. The transition may feel bittersweet, but I’m certain that the future of the company is assured, brimming with new talent.

Back at home, our own Royal Ballet has been making its own stir with ‘The Winter’s Tale.’ Oh, how I adored it! It’s a true triumph for choreographer Wayne McGregor. Such daring, such drama! He weaves a story of betrayal, love and, ultimately, redemption into a tapestry of dance and movement that is simply breathtaking. It's as though Shakespeare himself was whispering secrets of the soul, and Wayne captured them all – in all their beauty and raw power.

I have to mention Marianela Nunez – darling, she was radiant – so effortlessly elegant, her every movement a poetic whisper. She simply mesmerised as Perdita. She is an artist, you see, one with such a rare ability to portray the most intricate of emotions, all in the language of dance. Her performance was one to be savoured, a fleeting dream, like a snowflake on your cheek.

As ever, Paris remained an oasis of creativity, and the Paris Opera Ballet proved no exception. ‘L’Éveil,’ by the talented Angelin Preljocaj, is a modern masterpiece. A daring exploration of the human soul, raw, poignant and emotionally stirring. Preljocaj's choreography, full of unexpected turns, held the audience captivated right through to the final notes. You could sense, in the air, that this piece would become a ballet classic.

Across the pond, in New York, the American Ballet Theatre was celebrating new talent with its fall program. I was particularly enchanted by the young Isabella Boylston, who dazzled with her virtuosity and ethereal grace. The sheer energy and beauty of the dancers in a program featuring 'Romeo and Juliet', 'Concerto', and 'Symphonie' were captivating.

You simply had to see Isabella and David Hallberg ( yes, he's a real busy bee!) dance the pas de deux in ‘Don Quixote.’ There's a certain magnetism between them, a potent cocktail of passion and fire. I daresay we'll be seeing a lot more of both these exceptional artists.

It is exciting to witness the rise of these young ballerinas – strong, captivating, they bring a vibrancy to the stage, a freshness of spirit. Their presence, their artistry, gives one hope for the future of ballet. Their dancing whispers of change, and I can't help but feel that they are the harbingers of a new era.

However, darling, the art form itself, even with the energy and artistry of the young, still has its challenges. There is an ongoing debate about whether traditional ballet can still thrive in a world demanding constantly reinvented experiences. It seems the public wants new ways to be moved and enthralled by ballet. Some critics bemoan the rise of "spectacle" and the waning appreciation for pure form. And they're right to be concerned; some ballet companies have been veering towards more flamboyant productions, some say, at the expense of the dancers' skill and the artistry itself.

It's a balancing act, I know, to remain relevant in a world demanding the bold and unexpected. Perhaps, we should allow ballet to embrace both, traditional and modern, allowing for both the elegant arabesque and the innovative movement. Let the young talent blossom within the time-honored traditions, and the modern dancers break the mold and find their voice. And, yes, let's not neglect those incredible costumes. The beauty, the grandeur, the craftsmanship of a ballerina's costume can be quite simply mesmerising. Isn't that part of the allure of ballet? It's a feast for all the senses – and there's room for both classical and modern aesthetics in this sensory feast. A little tulle here, a little deconstructed silk there.

The world of ballet is ever-evolving. There's a constant seeking of new artistic expressions, new stories to be told. The rise of neo-classical dance, ballet's beautiful fusion with contemporary, brings a refreshingly new outlook. And, perhaps, this fusion will help bridge the generational gap in ballet. The young ones seeking the raw, the bold, and the veterans yearning for the graceful line, all yearning for the power of dance. Perhaps the answer is a marriage of styles – both traditional and contemporary, both timeless and provocative. Ballet can evolve and reinvent itself without abandoning the beauty, the grace and the artistry that defines its very soul. It is an art form, after all, born from tradition but embracing the present, always searching for its future.

Until next month, darling, enjoy the beautiful artistry that surrounds us, let it sweep you up into its world of graceful moves and timeless stories. And be sure to catch all the dazzling premieres coming our way in the months to come! And don’t forget to let me know what you see and how you feel. After all, my dear, sharing the experience of ballet is just as important as witnessing it itself.