September is finally here! A sigh of relief for the weary summer season, the beginning of a new dance year with its crisp promise of innovative productions and, dare I say it, **fabulous new frocks**. This seasonâs inaugural month offers a treasure trove of international offerings for the discerning ballet enthusiast. As always, my fellow devotees, I shall be your intrepid guide through the captivating whirl of this artistic world.
My whirlwind journey began in the heart of London, where the **Royal Ballet** continues to mesmerize. The grand revival of Frederick Ashtonâs **The Two Pigeons**, a light-hearted masterpiece from 1961, served up charming vignettes of Victorian life in the London parks. **Lauren Cuthbertsonâs** impeccable grace, **Marcelino SambĂŠâs** elegant bravura, and the effortless energy of the entire ensemble charmed from the first playful notes of **Constant Lambertâs** delightfully whimsical score.
On a more serious note, **Wayne McGregorâs** new **The Dante Project** made a striking statement. This ambitious piece, set to music by Thomas Adès, explored the labyrinthine descent into the nine circles of Hell. The costumes, designed by Moritz Junge, were nothing short of **breathtaking**, blending sharp geometric lines with sinuous organic textures to mirror Danteâs journey. While not an easy piece to stomach, **McGregorâs** visceral choreography was captivating in its intensity and masterful execution.
Across the Channel in Paris, the **Paris Opera Ballet** had a fascinating opening season. The legendary **Rudolf Nureyevâs** **Swan Lake** graced the stage, a testament to its timeless appeal. The incomparable **AurĂŠlie Dupont** truly embodied the dual nature of Odette/Odile with heartbreaking fragility and seductive fire, while **François Aluâs** Siegfried was dashing and full of emotional depth. Their chemistry ignited the stage.
**On a lighter note, I highly recommend the **Ballet du Grand ThÊâtre de Genèveâs** whimsical adaptation of **Alice in Wonderland**.** Set to an inventive score by **Doru Popovici** and a playful, multi-layered staging by Camille A. Brown, the production transported the audience down the rabbit hole and into a wonderland of delightful dance.
From the ethereal shores of the **San Francisco Ballet** to the grand stages of the **American Ballet Theatre**, **August and September** provided a kaleidoscope of performances. **San Francisco Ballet** continued its remarkable commitment to new work, unveiling two fresh productions: **Christopher Wheeldonâs** **The American**, a witty exploration of contemporary American identity, and the mesmerizing **Marco Goeckeâs** **FĂźr Alina,** a haunting and deeply moving masterpiece. Meanwhile, **American Ballet Theatre**, a stalwart of classical repertoire, treated its audience to **âSwan Lakeâ** in the most spectacular style, with its opulent costumes and impressive ensemble performances. But my true delight was a rare and breathtaking presentation of **Sergei Prokofievâs** **Romeo and Juliet**, with an impressive revival of the breathtaking, dramatic choreography by **Kenneth MacMillan**.
I do find the resurgence of **ballet stars of yesterday** most curious, **Svetlana Zakharova** at the **Mariinsky** recently showcased her grace and technical finesse in her repertory of solo ballets â **The Dying Swan**, **Chopiniana** and the **Bachianas Brasileiras No. 4** all presented on a small intimate stage - very close and personal indeed! While Misty Copeland continues to enchant with her dazzling presence and phenomenal athleticism in New York. As always, she embraced the traditional âGiselleâ with an unparalleled warmth, radiating an unparalleled passion.
It wasnât all classical grandeur and ballet icons; September witnessed some captivatingly fresh, contemporary work across the world.
- The **Nederlands Dans Theater** unveiled its annual **Noorderlicht festival,** a vibrant celebration of artistic innovation, with premieres from celebrated choreographers including Crystal Pite, Ohad Naharin, and Hofesh Shechter. **Crystal Piteâs** signature blend of fluid, lyrical movement and mesmerizing narrative, delivered a potent, powerful and raw, emotionally compelling performance.
- The contemporary work** that continues to enchant me, a breath of fresh air, is Akram Khanâs** production **âDeshâ**. **Khanâs** use of traditional Indian dance forms intertwined with his own evocative and bold contemporary style is nothing short of mesmerizing. His ability to convey profound emotions through every movement is truly extraordinary and has moved me deeply.**
One cannot overlook the ever-evolving world of ballet in Asia. The **Shanghai Ballet** took the stage with a dazzling performance of **âThe Nutcrackerâ**, adorned in stunning new costumes designed by **Christian Lacroix** and incorporating digital projections that took the audience on a mesmerizing visual journey.
There was also a delightful new take on **âCinderella,â** with a more sophisticated approach presented at **The Hong Kong Ballet,** an absolute triumph! **Yuri Possokhovâs** original choreography and his interpretation of **Prokofievâs** music offered a delightful perspective on this fairy tale classic, a delicate dance, an utterly elegant and whimsical story of modern enchantment! And who can forget the utterly charming ballet of **âSwan Lakeâ** by **The Korea National Ballet**, featuring the gorgeous costumes of the exquisite Ksenia Novikova!
It is clear that, despite facing challenges like ever-evolving technology, a global marketplace, and shifting artistic ideals, the art form of ballet continues to blossom, drawing new audiences, challenging old norms, and offering breathtaking stories and exhilarating displays of physical prowess. This exciting time for ballet has certainly started with an artistic bang. But rest assured, dear readers, my artistic exploration will continue.