February, a month of shimmering snow and frosted diamonds â itâs an apt metaphor for the sparkling dance performances gracing stages around the globe this month. From the luminous depths of a Siberian Swan Lake to the joyous explosion of flamenco in Seville, my globetrotting diary is crammed with unforgettable moments, each leaving me breathless and besotted with the artistry that continues to redefine the art of ballet.
Moscow's Bolshoi, a jewel box of a theatre, was my first stop, drawn by the undeniable allure of Swan Lake. Yes, this timeless classic may feel a touch predictable at times, but when performed by Natalia Osipova, it becomes a masterclass in balletic artistry. The firestorm of passion she brought to Odette's portrayal was as breathtaking as the sheer technical precision of her performance. She glided across the stage, a phantom of elegance, transforming into Odile with an effortless fluidity, the duplicitous black swan inhabiting her with almost sinister grace. Dmitri Semykin, her Prince Siegfried, provided the perfect foil â a regal and stoic counterpart. Their pas de deux, especially the haunting âblack swanâ section, transcended technical brilliance, revealing an almost unbearably tender vulnerability that made this Swan Lake unforgettable.
Taking a different turn from the grand opulence of Moscow, I found myself in the intimate confines of the Edinburgh Fringe Festival, enthralled by the audacity and freshness of Rambert Dance Companyâs Second Breath. Led by the talented Benoit Swan Poulsen, this piece is a tapestry of captivating stories, all woven around the thread of resilience and reawakening. Choreography from several artists provided a smorgasbord of styles: the graceful yet raw physicality of Russell Maliphant contrasted against the sharp, percussive movements of the wonderfully inventive Shobana Jeyasingh. Second Breath is a triumph in the art of storytelling, one that speaks volumes through the sheer emotionality of movement, leaving you pondering its message long after the curtain falls.
It was off to the dazzling lights of the New York City Ballet, my spirit buzzing with anticipation for the premiere of a new work, After the Rain. This is a masterstroke by the legendary choreographer Jerome Robbins, created with an ethereal score by the composer Philip Glass. The dance sequences unfold like delicate brushstrokes on canvas, filled with the haunting poetry of lost love and lingering hope. After the Rain is a poignant piece that demands to be seen, especially in the exquisite hands of dancers like Ashley Bouder and Andrew Veyette, whose heartbreaking grace made this performance a pure, unadulterated emotional journey.
A kaleidoscopic escape into the realm of Spanish artistry was the order of the day when I ventured to the Teatro de la Maestranza in Seville. My senses were ignited by the fiery flamenco choreography of Flamenco de Ida y Vuelta. With dancers like Manuel Liñan, a master of passion and intricate footwork, and Isabel Bayón, radiating grace and sensuality, Flamenco de Ida y Vuelta was pure magic. The frenetic, percussive rhythm of the flamenco castanets resonated with the intensity of the choreography, resulting in an exhilarating spectacle that had the entire audience swaying in their seats, utterly entranced.
Finally, I returned to London, the cultural heartbeat of Europe, where I experienced The Royal Ballet's much anticipated production of Manon. Itâs a timeless ballet based on the heart-wrenching novel by AbbĂ© PrĂ©vost, a tale of love and loss set against the opulent backdrop of 18th-century France. This is a piece that lives and breathes with every intricate step. Itâs the heartrending story of a woman who succumbs to societal pressures to trade love for material comfort. The choreography, by Kenneth MacMillan, is truly a triumph. And in the central roles, Natalia Osipovaâs portrayal of Manon captured both her fiery spirit and desolate despair. Her partner, Sergei Polunin, provided the perfect balance, as the devoted Des Grieux. His intensity was raw, compelling and deeply emotional. Together, they created an electrifying onstage chemistry, transforming an already tragic story into a captivating ballet.
I found myself wishing for a pause button during the encore of Manon. But I've learned that dance is not a story frozen in time, but an art form meant to be savored in its transient form. This past month, Iâve been blessed to witness artistry that takes our breath away, leaving an indelible mark on the soul. These enchanting performances, each unique and exhilarating in their own way, have underscored why I remain a dedicated devotee to the transformative power of dance.
My dear reader, let the balletic journey continue, and I shall continue to chronicle it, with a flourish of ink and a beating heart.
Donât forget to join me next month, as we delve into a new world of ethereal choreography, groundbreaking innovations and stories told through the language of movement.