AI Ballet Fashion Review 688

A Month in Dance: September 2014

My dears, August may have been a time for sun-kissed skin and languorous days by the lido, but September is a crisp reminder that autumn is upon us and the world of ballet is in full bloom. From the balmy climes of Italy to the cultural heart of Paris, there's a whirl of premières and revivals to excite even the most jaded dance enthusiast, and, darling, let's be honest, with a schedule this packed, there's no time to be jaded. So, pour yourself a glass of something crisp and join me, as I whisk you away on a global ballet tour de force.

Speaking of jaded, we begin in Paris, where the city itself becomes the setting for the opulent spectacle that is "La Princesse de la Fontainebleau". I have to say, I am not entirely sold on the plot, which feels, frankly, as cobwebby as the Fontainebleau castle itself. A young princess who loves a young shepherd and must hide from the attentions of a rather pompous king? Give me a break, darling. But, let's not judge the choreography too harshly; Laurent Hilaire, you see, has a way of extracting lyrical beauty from the most improbable of circumstances. He clearly loves this city and its history, and that love translates into a choreography of swirling skirts, soaring leaps and languid arms. The opening scene, with the princess and her ladies gliding across the stage, bathed in moonlight, was simply stunning, transporting us all back to the age of elegance. It's hard to deny the beauty, especially in the corps de ballet, the dancers so impeccably uniformed in shimmering gowns that their movements practically hypnotise you.

Across the border, Italy’s ballet scene is in full swing. I was absolutely captivated by the sheer vitality of “Bolero” at the Teatro alla Scala. In truth, my dears, we've all seen “Bolero” countless times before; the Ravel score is so ubiquitous. But Roberto Bolle? A revelation, my darlings. This is a man who commands the stage. I don't think there's a single audience member who wasn't utterly entranced by his powerful performance. In the opening of the piece, as his movements become increasingly rhythmic and frenzied, I must confess I thought the dancer himself would become a whirling vortex of muscle and sweat. Truly mesmerising, simply captivating.

Speaking of Italian flair, Milan also offered a delightful performance of a true ballet classic, "Giselle." Don't even think about sniggering! I know, I know, “Giselle” has been danced a million times, but this revival, starring the brilliant Alice Zanoni, proved it still holds power and charm. There’s a heartbreaking vulnerability in Zanoni's Giselle, especially in the famous Mad Scene. But my true enjoyment came from the dynamic interplay between Zanoni and her Albrecht. Daniele Sartori, with his chiseled physique and commanding presence, embodied the complexity of this roguish character, showing us both his charming façade and his underlying cruelty. Honestly, their duet was an absolute masterpiece; the passion and tenderness flowed so naturally, leaving you in no doubt about their love. This "Giselle" is more than just a technical tour-de-force; it's an emotional journey you'll likely not forget.

Now, on to the less traditional and more contemporary: “The Four Temperaments,” at the Bolshoi Ballet, offered an incredible, powerful showcase for individual dancers. The choreographic style, darling, simply electrifying. Choreographer George Balanchine uses four movements, based on classical temperaments – melancholic, sanguine, choleric and phlegmatic. The dancers respond with their individual strengths, each adding their personal flair to the movement. This ballet is not for the faint-hearted; it's an energetic exploration of emotion, full of dramatic contrasts and challenging physicality. This was the Bolshoi’s way of saying goodbye to the season. I think we'll be seeing this again, though, soon.

My travels didn't stop there. You know I do adore the American Ballet Theatre. Their season in New York City this September featured an eclectic program of dance masterpieces. From the whimsical "Le Sacre du Printemps," where the choreography is so raw, so explosive, so utterly electrifying, to the timeless elegance of "Swan Lake," this season is guaranteed to keep you on the edge of your seat. I, however, found my soul stolen by their rendition of “La Sylphide,” a haunting ballet of the romantic era with stunning costume design and delicate pointe work. It’s a feast for the eyes, my dears, and a reminder of how ballet, when performed with such soul, can evoke pure emotion. Oh, and one final thought. You just must see the ABT's new "Theme and Variations," a true celebration of classic ballet featuring the impeccable partnering skills of the ever-inspiring David Hallberg, the prince of American dance. It's an utter feast for the eyes, with exquisite costume and set designs, not to mention, a masterful display of the most refined choreography, by my beloved George Balanchine.

But this ballet bonanza isn't restricted to Europe and the United States. No, far from it. In Tokyo, the Japan-born choreographer, Momoko Higuchi, created her first original full-length ballet called “A World of Illusion,” for the K Ballet Company. A stunning spectacle that reflects her Japanese heritage. This original and experimental piece with beautiful sets and costumes proved once again, that there is so much room for creativity, invention and innovation, even when the world of ballet looks traditionally conservative.

Speaking of creativity, I simply cannot leave out the astounding “One” in Sydney by the Australian Ballet, where, to everyone’s surprise and delight, a brand new “Swan Lake” premiered this month. You’re right, my darling. The story was not at all new. But the production! Oh my! The ballet world was in shock, it was all everyone was talking about at cocktail parties. Director David Hallberg is trying to reinvigorate the company with some seriously modern changes and a truly radical perspective. He seems determined to modernize classic ballet and we are most certainly seeing it now in the incredible “Swan Lake,” which features a unique set design, by the famous Alex Taylor that gives the appearance that the swans have emerged from the Australian wilderness itself. This, combined with choreographic nods to a new type of post-modern dance style. The Australian Ballet has proved it's willing to experiment and challenge conventions and dare I say, it's utterly fantastic to watch it all unfold.

And that's all, my darlings, for September. My whirlwind ballet tour has taken me to glamorous Paris, to elegant Milan, to majestic Moscow, to dazzling New York and even to Sydney's daring Australian Ballet, proving to me that the world of dance is a vibrant and exciting one. There is still so much to see; so many ballets, dancers and choreographers to discover! My little dance diary will, as always, keep you up-to-date on every thrilling step and whimsical leap.