Oh, darling! The world of ballet is alive with exquisite colour and passionate emotion as we embark upon a new season of dance. August is for holidays and soaking up the sun, but September marks a fresh beginning and the theatre calls to us with a new collection of offerings. My diary has been bulging with exciting premieres and established stars, so sit back and pour yourself a chilled glass of something sparkling - it's time to talk ballet.
First on my itinerary was a visit to Paris for the Ă©toile, the legendary, DorothĂ©e Gilbertâs, last hurrah. The Paris Opera Ballet paid homage to her incredible career with a wonderfully eclectic selection of works: from Balanchine's delicate Serenade, which DorothĂ©e danced with ethereal lightness, to the emotionally intense Adagio from Ashton's The Two Pigeons - this time, accompanied by an emotional, intimate lighting design that seemed to whisper of her imminent departure. Then came the big guns; La BayadĂšre. DorothĂ©e was incandescent, powerful, yet achingly graceful as Nikiya, with a tragic vulnerability that pulled at my heartstrings. The audience roared with applause; for the sheer brilliance of the dancer but also to celebrate a truly monumental career. Her elegance, strength, and dramatic ability remain an inspiration to every young dancer out there. Bravo, DorothĂ©e, your swansong was unforgettable.
From the grandiosity of Paris to the more intimate setting of Sadler's Wells in London. A captivating double bill featuring the up-and-coming Rambert Dance Company saw the world premiere of choreographer, Sharon Eyal's A Strange Bird, and an exciting new take on Kenneth MacMillan's The Rite of Spring.
A Strange Bird is pure Eyal: dark, intense, with layers of complex emotion interwoven with sharp, rhythmic movements that challenge the dancers physically. The haunting score and atmospheric lighting design, with sharp contrasts of light and shadow, added to the enigmatic quality of the work. The performers were astonishing; with both sharp precision and the effortless vulnerability of dancers in total command. They embraced the challenging choreography, embodying both the strength and fragility of Eyal's characters with a rawness that left me captivated. Eyal is, for me, one of the most exciting voices in choreography right now and this piece is sure to make waves. On a contrasting note, MacMillan's Rite of Spring offered an energetic interpretation, which captured the savage and brutal side of the work but lacked, I felt, some of the starkly elemental feeling that this piece, which so many consider his masterpiece, demands. Rambert have a refreshing, gritty energy, though and the ensemble was tight and dynamic; one to watch for sure.
Over in New York City, a vibrant spectacle, the New York City Ballet welcomed back an audience eager to fill Lincoln Centre after the shutdown caused by the pandemic. What a way to start, with an evening devoted to the artistry of the incomparable, George Balanchine. I sat entranced by the flawless classical lines of Serenade and marvelled at the daring choreography of Agon, whose angular, athletic moves contrasted brilliantly with the lyrical beauty of the Symphony in C. Ballet remains, in the hands of the genius that was Balanchine, so relevant and exciting today. His work is so intricately crafted, so beautifully and cleverly designed, and the companyâs performances are, as always, magnificent. A real joy for the soul.
Moving onto a truly groundbreaking piece in the world of ballet, The Black Swan is now in full production and touring internationally after its successful debut earlier in the summer. Itâs daring, audacious, challenging; all those wonderful, daring things you'd expect from a masterpiece by renowned Dutch choreographer Hans Van Manen. It's the epitome of modern ballet, pushing boundaries of movement, aesthetic, and form. It is, of course, not for everyone and one feels compelled to acknowledge the brave young dancer who has embraced the leading role, Anna S, whose captivating performance has made this a work already legendary.
And last but not least, letâs end with a little bit of sparkle and glamour; the Royal Ballet brought a new season of dazzling beauty with a much-loved classic, Sleeping Beauty. No wonder, itâs the Royal Balletâs âgo-toâ offering, as it is breathtakingly beautiful, and the exquisite detail and opulent costumes, so meticulously crafted, leave no one unmoved. But for me, this performance felt like an effortless masterclass in story-telling, delivered with sublimely polished, almost invisible virtuosity from the entire company. Every role - from the ethereal Aurora to the deliciously dastardly Carabosse â was meticulously inhabited and flawlessly executed. It's not always about a single star; and a real ensemble triumph. And for all the grand productions and prestigious events this season, the thing that shines brightest, as always, is the dedication and talent of the dancers. They are the soul of ballet; the ones who take us on this wondrous journey through emotion, movement and music, making us forget we're even watching a production at all, so utterly are we consumed by their artistry and dedication. So thank you, my darling dancers. You are the beating heart of our beloved ballet.