Novemberās Whirlwind: From the Opulent to the Avant-Garde
Dearest readers, as the autumn leaves gracefully descend and the chill of winter descends upon us, we, the denizens of the ballet world, find ourselves in the midst of an intoxicating flurry of performances. This month, I journeyed from the opulence of the Bolshoiās gilded stage to the intimate intimacy of a small Parisian studio. My discerning eye has observed the dazzling spectrum of the worldās best dancers pushing boundaries, both choreographically and technically, with an air of defiant daring and sheer artistry. Let's delve into this exciting ballet month.
Moscowās Majesty
There is something truly special about witnessing a ballet performance at the Bolshoi Theatre. It is an experience that transcends mere entertainment; it is an immersion in the soul of Russian dance. The gilded grandeur, the expectant hushed anticipation of the audience, the air thick with history and artistic legacy, it is all part of the magic. In November, I had the pleasure of experiencing the revival of "Giselle" with the Bolshoi's principal dancers, Olga Smirnova and Vladislav Lantratov. Olga, an artist of exceptional power and delicacy, embodied Giselle's tragic fragility with profound nuance, her emotions pouring from her expressive eyes and exquisitely executed port de bras. Lantratov's Albrecht was both impetuous and heartbreaking, his every step a testament to his virtuosic technique. The supporting corps de ballet were simply divine, a whirlwind of fluttering skirts and swirling arms, bringing to life the hauntingly ethereal spirit of the Wilis.
The production itself, although traditional in its staging, felt refreshingly vital. This wasn't just a revival; it was a reinvigoration, an opportunity to experience this beloved classic as if it were brand new. The lighting design, by Dmitri Prozorov, was particularly effective, enhancing the dark mood of the second act and the haunting beauty of the Wilisā ghosts. To hear the renowned Bolshoi orchestra play Adolphe Adam's exquisite score in this majestic space was an auditory delight that elevated the experience to truly unforgettable heights. A masterpiece performed in a masterfully beautiful venue.
A Breathtaking New Voice in Paris
While the Bolshoi brought the familiar to life in glorious style, in Paris, a very different energy surged through the Theatre du ChĆ¢telet. The avant-garde brilliance of Belgian choreographer Anne Teresa de Keersmaeker's āFase, four movements to the music of Steve Reichā was a welcome breath of fresh air in a landscape often weighed down by tradition.
De Keersmaeker's choreographic voice is distinctive. With a clarity both immense and incisive, her movements possess an unparalleled sense of spatial intelligence. āFaseā unfolded in a mesmerizing flow, dancersā bodies responding directly to the complexities of Reich's percussive minimalist music. The precision, the near robotic repetitions of seemingly simple phrases, revealed an extraordinary emotional depth. Each movement, perfectly controlled, felt deeply meaningful and utterly devoid of embellishment or superficiality. It was a challenging but captivating experience, leaving me yearning for more.
One must not underestimate the technical brilliance of de Keersmaeker's dancers. Their athleticism and musicality were staggering. Their bodies moved like highly tuned instruments, responding to every shift and nuance of Reichās score. In "Fase," I witnessed ballet transcending conventional notions of beauty and form. It was a raw, visceral encounter with the sheer force of human potential expressed through the power of dance.
Ballet and Opera United: A Triumph at the Royal Opera House
Back in London, the Royal Opera House once again demonstrated its ability to create extraordinary collaborations. In November, āThe Dreamā ā a mesmerizing ballet adaptation of Shakespeare's "A Midsummer Night's Dream" - was the culmination of several months of rehearsals, and it truly delivered.
Created by the incomparable Christopher Wheeldon, the ballet blended seamlessly with the enchanting, witty music of Benjamin Britten's opera, creating an immersive and utterly charming theatrical experience. The Royal Ballet was truly in its element. Principal dancers Natalia Osipova and Sergei Polunin as Titania and Oberon embodied a compelling and fiery passion. Their duets, bursting with acrobatic daring and exquisite lyricism, were both captivating and technically astounding. The magical, whimsical world of fairies and sprites, as danced by the corps de ballet, was a joyous explosion of energy and enchantment. The opera singers brought a vital vocal dimension to the stage, adding layers of poignant emotions. The Royal Opera House, always a gem in the crown of London's arts scene, truly dazzled with this innovative and memorable collaboration.
Londonās Fringe Delights: A Gem of an Experiment
If grand spectacle is what you desire, you will certainly find it in London's West End or in the opulent theatre of the Bolshoi. But those with a discerning taste for artistic risk-taking and bold new choreographic languages, should take note: Londonās smaller venues can provide a remarkable and often breathtaking array of artistic offerings.
At The Place, in Islington, a company called āDance Umbrellaā held a month-long festival celebrating innovative choreographic practices. In a space usually reserved for experimental and contemporary dance, I was delighted to find āBallet 3,ā an impressive group of young ballet dancers with an incredible capacity for physical and expressive prowess. Their piece, "After the Fall," featured a striking minimalist backdrop and a score by the contemporary composer Arvo Part. With no costumes to distract the eye, the focus remained firmly on the bodies of the dancers, as they traced elegant patterns in the air, with an almost sculptural beauty. This was a stark departure from traditional ballet, and perhaps not to everyone's taste. But for a connoisseur of dance, the experience was utterly enthralling.
The Legacy of Dance: An Evening of Reflection
While November was full of thrilling performances of both classical and contemporary ballet, I was particularly moved by an intimate evening of dance dedicated to the legacy of ballet icons. āThe Legacy of Dance: A Tributeā took place in a beautiful converted church in the heart of Chelsea. It was a moving celebration of past and present, a nostalgic yet vital reminder of the indelible mark dance has made on the world.
Among the performers were several former dancers from the Royal Ballet and the Paris Opera. These artists had graced some of the most famous stages in the world, yet they shared the stage with the young, up-and-coming talent of the present. This blending of generations brought a wonderful depth and complexity to the event. There was a shared understanding of the discipline, the dedication, and the sacrifices required to reach the peak of the ballet world. There was also a mutual appreciation of the beauty of the art and its enduring power to inspire and captivate. The evening began with a stunning rendition of a scene from "Swan Lake," beautifully performed by retired ballerina, Olga Moroz. It was heart-wrenching to witness this woman of extraordinary talent grace the stage with a mixture of youthful agility and the deep wisdom that only comes with years of dedicated artistry.
The programme went on to include selections from Ballet Russes repertoire, including pieces originally performed by the great Vaslav Nijinsky. These dances were brought back to life by an exciting group of young dancers from The Royal Ballet School, exuding the same dynamism and raw talent that had captivated audiences almost a century earlier.
āThe Legacy of Danceā was a beautiful reminder of the timeless power of the art form, of the importance of passing on its traditions and the responsibility of each generation to nurture the legacy for the future. It was a reminder that ballet, though it may seem tied to the past, is an incredibly vibrant art form still continuously evolving.
November: An Abundance of Delight
In a world where art, beauty, and excellence are often eclipsed by the fast-paced distractions of modern life, ballet offers a respite. This November, in London, Paris and Moscow, the magic of dance captivated me, reminding me why it holds such a special place in the hearts of so many.
The energy and excitement I experienced throughout the month was truly infectious. And now, as I reflect on the month of November, I find myself brimming with inspiration and anticipation for what lies ahead. There are countless stories waiting to be told. We will, together, embark on another whirlwind journey into the heart of dance, experiencing new frontiers in performance and continuing to be inspired by the endless beauty, artistry, and resilience of ballet. Stay tuned, my dear readers!