Ballets 169

As the final strains of Maurice Ravel’s “La Valse” faded into the hushed silence of the Royal Opera House, a profound sense of stillness washed over me. It was as if the whirlwind of emotions unleashed upon the stage by “La Fin du Jour” had momentarily been frozen in time, suspended in the very air around us. The ballet, choreographed by the legendary Frederick Ashton, is not merely a performance of dance, but a journey through the passage of time, a poignant meditation on life, love and the inevitable march of destiny.

Set in the final days of the Austro-Hungarian Empire, "La Fin du Jour" tells a story without words, relying solely on the language of dance to paint its breathtaking portrait of a bygone era. The costumes, a symphony of rich fabrics and opulent lace, speak of the grandeur and opulence of the court, while the meticulously crafted set evokes the fading beauty of a world teetering on the brink of collapse.

The ensemble cast of “La Fin du Jour” was nothing short of spectacular. Each dancer embodied their role with an exquisite precision and sensitivity that truly brought Ashton's vision to life. But there were two individuals who particularly stood out: the young and gifted Anya Petrova, who delivered a tour de force performance as the fragile, ethereal “Étoile,” and the enigmatic Andrei Sokolov, whose masterful interpretation of the enigmatic “Baron” sent chills down my spine.

Petrova was utterly captivating. Her movement possessed an effortless grace, every step a delicate caress of the stage. She navigated the intricate steps with an astonishing ease and expressiveness, bringing forth the innocence and longing of the “Étoile” with a heartbreaking fragility. Sokolov, on the other hand, presented an alluring complexity. His powerful physique held a stillness that hinted at a troubled past, and his eyes, filled with an unreadable depth, conveyed both the attraction and danger that the “Baron” exuded.

Throughout the ballet, Ravel's exquisite score acts as a living, breathing entity, guiding the narrative with its powerful emotive force. Each movement, from the slow, languorous waltzes to the vibrant, energetic tarantella, reflects a different facet of the story.

• The first movement, a shimmering prelude in the style of a ballroom waltz, introduced us to the lavish world of the “Étoile” and her companions.
• The second movement, a tender pas de deux, unfolded a passionate, yet doomed romance between the "Étoile" and the "Baron". Ravel's poignant melodies, with their subtle hints of yearning and sorrow, heightened the drama, pulling us into the emotional heart of the tale.
• As the ballet reached its climax, the music swelled to a tumultuous crescendo, reflecting the impending darkness that enveloped the "Étoile." The final scene, set against the haunting backdrop of Ravel’s "La Valse", is a masterful orchestration of sorrow and hope. It left an indelible imprint on my soul, a haunting testament to the beauty and fragility of life.

“La Fin du Jour” is not simply a ballet; it’s a symphony of art. It’s a testament to Ashton’s genius in conveying emotions through the power of dance and to Ravel’s gift for crafting musical scores that pierce the very heart. Every performance is a profound experience that lingers long after the final curtain has fallen, leaving a poignant sense of wonder, sadness and a touch of melancholy that makes us treasure the fleeting moments of life.

As I write these words, I still find myself returning to the hauntingly beautiful imagery of “La Fin du Jour” – the fleeting gaze of the “Étoile”, the melancholic silhouette of the "Baron", and the palpable atmosphere of a world on the cusp of change. I find myself lost in the lingering echo of Ravel’s score, which now holds a profound new meaning for me, an anthem of love and loss, a melody for the passage of time.

Perhaps what truly resonates with me, though, is the ballet’s poignant exploration of the passage of time. We are all “Étoiles” in a sense, navigating the uncertain waters of life, cherishing our fleeting moments, grappling with our inevitable end. The ballet offers no easy answers, no comforting assurances. Instead, it presents us with a glimpse of humanity’s eternal struggle: the pursuit of love in the face of unavoidable fate, the bittersweet embrace of our transient existence.

As a ballet dancer myself, “La Fin du Jour” holds a unique significance for me. It's a story told not only through exquisite choreography but also through the enduring legacy of Maurice Ravel’s musical masterpiece. In these challenging times, “La Fin du Jour” provides a refuge from the relentless pressures of modern life, inviting us to lose ourselves in a world of captivating beauty, exquisite artistry, and poignant reflections on the human condition. It's a ballet that will forever hold a special place in my heart.