March's most dazzling performances.
It’s a brand new month, darling, and with spring on the horizon, there’s a sense of rebirth in the air, one which is reflected in the glittering world of ballet. From the icy plains of Moscow to the cobblestone charm of Vienna, we’ve scoured the globe to bring you a glimpse into the most dazzling performances.
My first stop was the magnificent Bolshoi Theatre, and frankly, there was simply no other choice for my debut this month. It was for a revival of *The Sleeping Beauty*, a truly grand affair that wouldn't have been complete without a diamond-studded tiara. As always, the Bolshoi delivered on grandeur. The sets and costumes were a riot of crimson velvet and gilt, practically screaming "Tsarist opulence," which made the choreography by Yuri Grigorovich all the more poignant. It was a truly romantic spectacle, bursting with emotion and stunning technique. The ballerina, Ekaterina Krysanova, as Aurora, was ethereal, and Dimitri Semyon, as the Prince, conveyed such elegant strength. The corps de ballet, of course, were flawlessly unified, a seamless wave of shimmering tulle.
And how I adore the Bolshoi’s dedication to tradition, something you don’t find everywhere these days. Yet it wasn't simply the beauty of the spectacle, but the deeply personal interpretation of each scene that really enthralled me. One particular moment that stood out was the ‘Rose Adagio’, an eternal ballet classic. Krysanova, with such poise and effortless control, really owned the spotlight, drawing me into Aurora’s yearning for a life beyond her waking slumber. Truly unforgettable!
- From Bolshoi opulence to Vienna's charming intimacy
Now, I’m a creature of habit, but even I am willing to break tradition when a ballet demands it. This month, that demand came from Vienna, home to the elegant State Opera House. Here, we are treated not to opulent excess, but to a delightful intimacy, which makes for a charming experience that is altogether unique. My visit was for *Swan Lake* but not your average *Swan Lake*! The directorate, for lack of a better word, absolutely 'smashed' tradition here, transforming the staging from the classical with new interpretations. I'd heard murmurs of modernistic staging, but that hardly captured the breadth of artistic vision here. This wasn't just about updating a ballet, but creating a truly captivating visual journey, the set transforming into a tapestry of swirling shadows that gave the choreography a mystical new life.
Of course, for any performance of *Swan Lake*, the ballerina is pivotal, and here we find another exceptional talent in Anna-Maria Kaufmann, a delicate bloom amidst the drama of the story. It was her performance, the raw beauty of it, that gave this ‘Swan Lake’ its own special brilliance, her ‘black swan’ embodying not only darkness but an intoxicating energy, like a sorceress of the forest. She’s quite remarkable. And the finale! A scene of vibrant hope amidst the tragedy of betrayal and longing – beautifully played by the entire cast. I just couldn't leave Vienna without catching the premiere of *La Sonnambula* which was an absolutely magical production at the Volksoper! They gave us all such a joy.
As always, the Volksoper house was awash with floral bouquets, a sea of vibrant roses amidst the opulence of gold-gilded trim and plush seating. That Viennese charm! The new season of opera, I have to say, looked very promising! What is one to expect, you ask? One must simply revel in the romance, the vibrant energy. In the coming weeks I hear their next production is Puccini’s *La Bohème*, with such a beautiful, youthful story, what's not to adore?
- From romantic Vienna to the fire of Berlin
For my next journey, it was onward to Berlin! From Vienna's warm embrace, I was swept up in Berlin’s edginess. Now, the Berliner Ensemble is well-known for its innovative approach to theatre, and *La Sylphide* was no exception! While my Viennese experience offered an elegant beauty, Berlin delivered something truly audacious. Now, this was a daring reinterpretation, with an experimental quality that threw everything I thought I knew about the ballet into question.
I was expecting the classic, Romantic ballet with the iconic, light-as-air movements of *La Sylphide*, a ballet designed to be a breathtaking escape. What I received instead was a captivating dance in a world that had, quite literally, gone dark. Instead of sylphs shimmering in a forest lit by moonlight, this production used the dark and the powerful, using a bold modern backdrop that highlighted the isolation of the characters.
What’s more, the choreographer really made bold decisions in reworking some of the classic moves to reflect this modern environment, making the dances both haunting and poignant. My word, the scene of James, as a young Scotsman, realizing his betrothed was never there and that he has only ever seen a ghost in her place - oh my! It had an edge that made the tragedy hit me much harder.
And you just know this re-imagining has sparked conversation! There’s a debate about whether you have to stay true to a classic, but I do love to see an artistic team embrace new ideas. In the end, this was an *experience*, with a thrilling boldness that has stayed with me long after I left the theater.
- Back in London for the world premiere of an unexpected delight!
You know, sometimes it’s a joy to return to the familiarity of the Royal Opera House. Even the grand halls themselves evoke that same feeling of glamour and excitement – all that plush velvet and gold gilt - as you move from the foyer into the grand, plush auditorium. I was simply too excited about the London premiere of "Dancing in the Night," by the celebrated choreographer Thomas Wilson. A world premiere for an unexpected collaboration between the English National Ballet and The London Ballet School? The thrill was real.
But then again, what do you expect when you combine the brilliant artistry of The English National Ballet with the dazzling young talent of The London Ballet School? It was pure genius!
Wilson is known for pushing boundaries with a playful yet powerful style. The world premiere of his new ballet was an exhilarating adventure that transcended words. I would love to delve into its deeper meaning, to tell you everything that sparked within my soul but words can only take you so far! I think I can say, in essence, this was an unexpected and exhilarating fusion of artistry, movement, and imagination, and this production definitely showcased the talents of both troupes.
It's clear that, even after the premiere, "Dancing in the Night" will be generating discussion for a while yet, and will continue to make the rounds of dance critiques the world over!
However, it wasn’t only the performance that truly blew my mind - that would be far too mundane a term for such a creative experience! The music! It wasn't just accompaniment; it became the driving force. Wilson combined a breathtaking mix of orchestral music, electronica, and ambient sounds. All this came together to build a soundscape as thrilling as the dance.
The real highlight, for me, were the students. Yes, those amazing, future stars who moved like whispers, all the way to electrifying energy! There were, naturally, moments of undeniable technical prowess - it simply isn’t the Royal Ballet School for nothing! And you couldn't ignore their absolute abandon. To feel a kind of reckless abandon so young - and, of course, beautifully controlled! Well, darling, that is what theatre is all about!
- Looking Forward: Beyond the curtain
I'm ready for the adventures the new ballet season holds! With new choreographers, reinterpretations of classics, and debuts, it's a chance to explore a wider landscape, for us ballet enthusiasts, a world of possibilities where art and expression meet! What new heights will the world of dance take us to? I’ll be waiting for you on the other side of the velvet curtain.