Ballet International: A Month in Review
My dears, November has brought a flurry of excitement to the world of ballet, with productions dazzling and shocking in equal measure. From the hallowed halls of the Bolshoi to the experimental spaces of independent dance companies, this month has seen a feast for the senses, leaving this reviewer with aching limbs, watering eyes, and a head full of stars (some literal, in the case of the Bolshoi, others purely figurative).
The Bolshoi, of course, delivered spectacle and tradition with their breathtaking revival of Swan Lake. Svetlana Zakharova, the goddess of Russian ballet, returned to the stage in her iconic role as Odette/Odile. Her ethereal grace in the white swan act was enough to make a hardened critic weep, and her fire and passion as the black swan was simply explosive. Partnered by the supremely talented Vladislav Lantratov, whose partnering was as strong as it was elegant, this performance felt like a journey through ballet history, the perfect embodiment of romanticism. The grandeur of the Bolshoi stage, the opulent costumes, the swirling music by Tchaikovsky - all perfectly blended for an evening of pure, unabashed joy.
Meanwhile, on the other side of the globe, the Sydney Dance Company dared to experiment in their world premiere of "Ephemeral." Created by the ever-bold Rafael Bonachela, the production offered a whirlwind of styles - from classical to contemporary, and with touches of neoclassical, folk, and even some wonderfully expressive physical theatre. It felt like Bonachela poured his entire being into this piece, crafting a fragmented yet deeply resonant work. The dancers were captivating - each one showcasing exceptional athleticism and the emotional intelligence to inhabit the fragmented narratives of Bonachelaās creation. Itās a piece that demands multiple viewings to fully unravel its layers, and leave you reeling with its beauty and power.
For those seeking something truly unique, "Metamorphosis" by the Nederlands Dans Theater was a revelation. Set to an ethereal soundtrack by the composer Max Richter, the work explored the fragility and beauty of the human form, using the dancers as living sculptures. Choreographed by Paul Lightfoot and Sol Leon, "Metamorphosis" took us on a journey through physical transformation - from the gentle undulation of a blooming flower to the angular movements of a fractured, human spirit. This is not your grandmotherās ballet. It is experimental, daring, and undeniably beautiful, with each dancer seamlessly becoming an integral part of a larger visual tapestry. It left me mesmerized and speechless.
In a departure from the traditional ballet world, London's Rambert Dance Company unveiled their newest work, "The Calling." The choreography by Alexander Whitley took inspiration from contemporary club culture and street dance. This innovative work was electric with raw energy, blurring the lines between performance and social interaction, and challenging traditional notions of dance with its fluid, free-flowing movements. Itās a bold move by Rambert, a reminder that the company continues to be a cutting edge voice in contemporary dance. The raucous, pulsing music, the lighting that morphed between darkness and neon brilliance, the stunning dancers' ability to fuse classical elements with modern improvisation - it all added up to a mesmerizing and unforgettable experience.
While weāre in London, I can't forget the Royal Ballet's glorious "Romeo and Juliet," featuring the ever-brilliant Marianela Nunez as Juliet and Vadim Muntagirov as Romeo. This pair truly capture the tragic love story. It's all about nuance, subtlety and passionate connection with every movement, and these two possess it all. And the performance from the ensemble? The Royal Balletās iconic corps de ballet is the backbone of this production, offering moments of ethereal elegance and ferocious precision. Every step, every expression, speaks to a deep understanding of the work, leaving one breathless. This āRomeo and Julietā is an unforgettable and truly moving experience, perfect for both the seasoned ballet-lover and those looking to be swept away by its timeless beauty.
Of course, November wasn't just about large scale, prestigious ballet productions. I am always a big fan of independent work, those pieces that push the boundaries of what āballetā can be.
A standout this month was a performance by a small, but supremely talented, independent company, "Dance Collective," who staged their latest creation in the intimate setting of the Barbican's "The Pit." The piece was untitled, an abstract exploration of the human condition through movement and sound, relying on lighting as another essential story-telling tool. Their vulnerability on stage was breathtaking; their ability to tap into a quiet rawness of emotion is a skill rarely encountered, even in more renowned companies. "Dance Collective," are worth following - they promise to be a star in the world of contemporary dance.
As for other highlights in November's dance scene, I was quite taken by the New York City Balletās rendition of George Balanchineās āAgon." Set to the compelling music of Igor Stravinsky, this piece remains a masterpiece of abstract neoclassicism. Each move is intricately sculpted, an expression of the musical line and the power of classical technique. The dancers were phenomenal, but the artistry in this production lay in the brilliance of Balanchine himself, creating this timeless gem with lasting power to provoke thought and awe in its viewers.
Rounding out the month, a particular moment that resonated was seeing the world premiere of "The Silent Story," a collaboration by the London Contemporary Ballet and a group of blind and visually impaired dancers. It's a reminder that dance isnāt always just about visual spectacle. Here, a remarkable synergy between dancers - some seeing, some blind, brought to life the richness of a language expressed through movement alone. The choreography was powerful, innovative and touching - a beautiful reminder that beauty comes in many forms.
Of course, as with any artistic season, November brought a few productions that were more hit than miss.
I must confess, I found myself rather underwhelmed by the Australian Ballet's presentation of āLa BayadĆØre.ā Despite the vibrant costumes and spectacular set design, the choreography felt somewhat pedestrian, lacking the excitement and originality that the dancers deserve. A great deal of classical ballet relies on a strong artistic vision of the choreographer and this rendition felt somewhat generic and predictable, relying solely on its impressive technicality to shine. The talented dancers gave it their all, but, for me, the overall performance lacked spark.
Also disappointing was a new work by the English National Ballet, called "Underneath," which struggled to connect with me. Perhaps it was the repetitive choreography, the uninspired use of music, or simply a disconnect between concept and execution, but āUnderneath" left me feeling a bit empty. I had such high hopes for this company, known for its dedication to bold innovation, but, unfortunately, this creation simply failed to make a lasting impression.
As November draws to a close, one thing remains abundantly clear: Ballet, in all its diverse and daring forms, is more relevant than ever. From grand Russian productions to experimental works in intimate studios, this art form continues to evolve and enthral us. From the iconic ballerinas to the cutting-edge choreographers, itās an era where tradition and innovation merge in mesmerizing ways, captivating audiences across the world. Iāve been thrilled by the talent, passion and dedication on display, and am looking forward with great anticipation to the rest of the dance season. As they say, the curtain may close, but the story continues!