A Flutter of Tutus Around the Globe: October 2012
Oh, darlings, the season has officially begun! With the crisp air and the promise of dazzling performances, autumn has descended upon us, bringing with it a veritable whirlwind of ballets and ballet-adjacent events. I, your ever-so-slightly jaded but eternally enthusiastic guide through this magical world, am ready to unveil the delights (and occasional disappointments) that September and the first blush of October have bestowed upon us.
Let us start, as we always do, with the crème de la crème - the Bolshoi. Now, one might expect a certain degree of predictability from this grand old institution, but even the most ardent admirer, like yours truly, was surprised by the vibrancy and sheer joyous abandon of their recent revival of "Le Corsaire." The first act, set on a gloriously sunny Mediterranean shore, unfolded like a dream. The Corps de Ballet were simply exquisite, each movement a poem of light and movement. But the true showstopper, my dears, was the magnificent Vladislav Lantratov as Conrad. His partnering was effortless, his leaps were, quite frankly, out of this world, and his effortless masculinity left the audience quite literally breathless. Sadly, I wasn't so impressed with their staging of "Don Quixote". I found the choreography, while technically dazzling, rather monotonous and the overall aesthetic a bit too...industrial? Forgive me my dramatic flair, but it simply lacked the warmth and the light-hearted whimsy I expected. Thankfully, the beautiful Ekaterina Krysanova as Kitri saved the day with her effervescence and charm.
Meanwhile, across the pond, the American Ballet Theatre delivered a rather unexpected treat in the form of their production of "Sleeping Beauty." Now, I'm not normally one for the grand romantic ballets, finding them sometimes a tad saccharine for my taste. However, this production, led by a particularly radiant Misty Copeland as Aurora, simply captivated me. She imbued the role with a depth of feeling and such breathtaking elegance that I was mesmerized throughout. Her prince, the dashing David Hallberg, was, as always, a delight to watch. He is one of those dancers whose every move speaks of refinement and pure physicality.
I confess to having had my doubts about the Royal Ballet's latest offering, "The Winter's Tale." Now, I understand the allure of adapting Shakespeare to the stage. However, my dear readers, this was...interesting, to say the least. The story, while a compelling one in its original form, felt somehow cramped and convoluted in the ballet version. However, as always, the strength of the Royal Ballet lies in the technical brilliance of its dancers. Marianela Nuñez as Perdita displayed a raw power and grace that left me spellbound, and Edward Watson as Leontes, in spite of the perplexing choreography, managed to imbue the character with a deep emotional depth.
A welcome reprieve from the grand opera houses came in the form of a captivating production by the Nederlands Dans Theater (NDT). Now, I admit, I am quite partial to contemporary choreography. But this piece, simply titled "The Seven Deadly Sins," by choreographer Paul Lightfoot was something special. The movement was sharp, witty, and often downright cheeky. The use of lighting was innovative and theatrical, and the music, an electrifying combination of Bach and electronica, added an undeniable sense of excitement. The dancers, I must say, were breathtaking. The power and precision of their movements, coupled with their passionate expressions, left me with a lingering sense of awe and wonder.
Speaking of contemporary ballet, I have to mention the rather bold and unusual "Romeo and Juliet" created by the English National Ballet. While not for the faint of heart, the choreography by Akram Khan challenged traditional interpretations and embraced a dark and visceral style that left no doubt as to the emotional intensity of Shakespeare's timeless tale. It's a performance that stays with you, not for its beauty, but for its rawness and emotional truth.
Of course, no discussion of ballet is complete without a mention of the annual New York City Ballet Fall Gala. This year's gala was an affair to remember. The sheer artistry of the dancing coupled with the glamour of the evening, made it a true celebration of the art form. Special mention must go to the charming Sara Mearns. She is, without a doubt, the embodiment of classical grace and a true ballerina for the modern age.
Before we depart from this whirlwind of tutus and tiaras, let's take a quick peek at a few smaller-scale productions that caught my attention:
- In San Francisco, the San Francisco Ballet produced a stunning revival of "Giselle." I was captivated by the ethereal performance of Sofiane Sylve as Giselle. She simply embodies the fragility and the strength of the character with a degree of artistry that's hard to come by.
- The Houston Ballet gave us a unique and truly inventive "Cinderella" by the renowned choreographer Christopher Wheeldon. He has a knack for breathing new life into familiar tales. It was, dare I say, a bit “avant-garde,” but nonetheless engaging, with beautiful sets and a whimsical, slightly subversive edge.
- In England, the Birmingham Royal Ballet gave us a wonderful new production of "The Sleeping Beauty." This was, dare I say, a touch more traditional than the ABT's interpretation. But the beautiful staging, and a strong cast featuring the talented Alina Cojocaru as Aurora, gave it an elegance and grandeur that made it quite charming.
- And for a truly unique experience, we went a little off-piste to explore a piece of dance-theatre from the wonderfully quirky London based company "Lost Dog." Their piece "The Great God Pan" was a wild mix of mime, music, and acrobatics that left us laughing and bewildered in equal measure. It was a refreshingly different take on dance and truly underlined the creative potential of the art form.
And there you have it, darlings, another glorious ballet season unfolding before us. As I sip my Earl Grey and gaze at the autumn leaves swirling outside my window, I am already filled with anticipation for what the next month will bring. There is nothing, I believe, more exhilarating than the promise of another night at the ballet.