December, oh December, how you tease and tantalise!
A whirlwind of festivities, glittering galas and a surfeit of sugarplum dreams. It seems that as soon as we've tucked into our Thanksgiving turkeys, the ballet world, much like a seasoned ballerina, leaps into the whirl of the holiday season. From the snow-dusted stages of the Bolshoi to the twinkling lights of the Royal Opera House, this month has served up a delectable platter of performances, some utterly delightful, others daringly innovative. Let's take a look, darling, at some of the highlights...
The Bolshoi's Nutcracker : What's a December without the enchantment of a grand, old-fashioned Nutcracker? The Bolshoi certainly pulled out all the stops this year, their production glittering like a vintage Christmas bauble. Natalia Osipova, our leading prima assoluta of the moment, and Vladislav Lantratov, my ever-so-dashing young prince, were a joy to watch. They brought an air of effortless grace and passion to the iconic roles of Clara and the Prince. A word on the Sugar Plum Fairy? The lithe and nimble Maria Alexandrova embodied that elusive sweetness of the confectionary realm, and I daresay the audience felt a slight prickling of tooth-sweetening desire! But darling, let's be honest: we didn't just go for the dancing. The sets - those oversized gingerbread cookies and the opulent, winter-hued candy castles! - and the charming costumes (especially that exquisitely embroidered Clara doll!), were positively dripping with the holiday magic. For a guaranteed dose of Christmas nostalgia, you simply cannot go wrong with this. A production that's as classic as a family heirloom.
Royal Ballet’s Swan Lake: The Royal Opera House has been absolutely buzzing. My dear friend, Darcey Bussell, has retired (the darling did her final bow this summer!) and that leaves a very large pair of point shoes to fill! Who else to call upon than the ever-so-talented Natalia Osipova? This divine creature graced the stage with an elegance that defied gravity. The effortless lightness and raw emotional power with which she transformed from the fragile, heartbroken Odette into the seductive, fiery Odile was nothing short of breathtaking. The Prince (a perfectly handsome Steven McRae) looked positively bewitched. I couldn’t take my eyes off them; you simply can’t resist a love story told so beautifully, so poetically! My only criticism? The Royal Ballet's rendition of Swan Lake felt somewhat…tired, darling. We’ve seen the majestic swans, the brooding villain, and the climactic final tableau a million times before. Don’t get me wrong, it's still a masterpiece of ballet but the company's presentation felt almost routine. Frankly, we deserve more daring, more of that spark!
London Contemporary Dance Theatre's Within : My darling friends, if you want something that really breaks the mold, you must find yourself a ticket to see London Contemporary Dance Theatre’s new offering, Within. Now, it's not for the faint of heart, let me tell you! This piece is bold, audacious, raw. There’s barely any conventional stage makeup; the costumes, mostly black with flashes of fluorescent colour, feel decidedly modern. And then there's the music: a haunting electronic score that creates a palpable, edgy atmosphere. Choreographer Wayne McGregor has put his trademark dynamic, almost jarring, movement style on display. Think twisting limbs, darting glances, splashes of angular movements—a dance language that speaks to the fragility of human connection and the raw emotions beneath the surface. I confess, I felt quite conflicted as I watched. It’s a deeply personal, emotional, and in many ways disturbing experience, but I commend the company's raw vulnerability. The final image was breathtaking, and it left me feeling pensive for days. Now, I’m not one to mince words, this piece is truly groundbreaking! And yes, darling, quite unlike anything else we've seen on the dance floor.
Paris Opera Ballet's Giselle at the Metropolitan Opera House: The Parisian stars finally descended upon New York’s Met, offering us a delectable Giselle. The first thing that struck me? The sheer exuberance of this Parisian troupe, and the impeccable musicality of their every move. Now, there is no ballet that requires as much athleticism and technical virtuosity than Giselle, and my dears, these dancers held the stage, not with sheer bravura but with the elegance of Parisian aristocracy. The delicate footwork, the swirling skirts, the tender embraces... this is true romanticism at its finest. There is also a powerful sense of drama. We’ve all seen that Act I transformation: Giselle, deceived and driven mad, enters Act II as a Wili, a spirit condemned to dance until her death. I, for one, find the power of that metamorphosis simply awe-inspiring. The whole production was an exercise in restraint: no ostentatious set pieces, no unnecessarily flashy costumes. Instead, the dancers had the stage, their bodies, their emotion, at centre stage, and darling, it's an experience one never forgets!
Dutch National Ballet's Cinderella : It wasn’t just in Europe where we found artistic fireworks this month. In Amsterdam, Dutch National Ballet took us on an unexpected, almost cinematic journey through the story of Cinderella. They stripped the beloved fairy tale of its tradition, its glitz and glamour. Instead of a glittering, opulent ball, this production had a raw, gritty beauty, taking us back to a simpler, pre-war era. This interpretation focused more on character study than spectacle: the choreographer, Hans van Manen, allowed the story to unfold organically. No glass slipper, no fairy godmother, but rather the raw power of the dancer’s movement telling the story. I dare say, the highlight was the extraordinary performance by the young star, Hannah von Bruggen, who embodied the resilience, strength and ultimate triumph of Cinderella. If you’re looking for something unconventional and truly original, look no further.
A peek at what's to come...
- The Australian Ballet has announced their Spring season and I’m excited, darlings! The star of their lineup? A world premiere from one of my favourite choreographers, Christopher Wheeldon. The piece is said to be inspired by the music of Stravinsky, which makes me utterly tickled!
- New York City Ballet is taking on the beloved, ever-classic Sleeping Beauty, this time with a choreographic twist, an interpretation from the dazzling, enigmatic, always-daring Balanchine himself!
- The English National Ballet is returning to their classic, beloved production of The Nutcracker, promising all the festive magic of sugarplum fairies, sweeping choreography, and enchanting costumes. Darling, the holidays would be utterly bleak without it!
- The Mariinsky is on a whirlwind tour, and I am so excited for them to return to their home stage. This is the theatre where the greats of ballet perfected their art and we can expect no less from this incredible ensemble.
As always, dear readers, this is merely a snapshot. The dance world is ever-shifting and transforming, always presenting us with unexpected, daring, and endlessly exciting spectacles. We're blessed with such artistry! So let’s be inspired, captivated and enchanted by all that is beautiful, and dance into the new year with grace and elegance.
Happy Holidays and all the best for the new year!
Your ever-devoted,
Genevieve Beaumont