A Dancerâs Diary: June 2011
Darling, what a month it's been! June has been a whirlwind of tutus and tiaras, and I've been lucky enough to witness some truly divine performances, from the grandest stages to the most intimate of studios. The world is overflowing with talent, and as a seasoned ballerina, I feel eternally grateful for the opportunity to share my passion for the art with you, my dear readers.
Let's start with the Royal Ballet, where I was simply mesmerised by the reawakening of Frederick Ashtonâs La Fille Mal GardĂ©e. There was a joyous energy, a lightness of being that infused every movement, as if the entire company had been doused in champagne! It was pure escapism, filled with delicious pantomimic humour, the choreography itself a series of elegant witty repartee. You know how I adore the story of the spirited Lise, her clumsy suitors, and the inevitable blossoming romance - it's always a crowd-pleaser. But here, the dancers seemed to elevate the tale, weaving the threads of Ashton's ingenious choreography with their own individuality.
I've always loved Natalia Osipova. Her innate musicality and phenomenal technical skill, coupled with a real fire in her eyes - you can't help but be swept up in her energy. This time she partnered Edward Watson - the perfect foil to her sparkling energy. Together they were utterly magnetic. Their pas de deux were breathtaking, showcasing the unique blend of power and fragility that makes ballet so captivating. My only qualm was that I did miss the presence of Alina Cojocaru - oh, what a pairing that would have been.
I wasnât alone in feeling a pang of missing the delightful Alina Cojocaru, as the Royal Opera House announced her imminent retirement, after such a stellar career. A touch of melancholia crept into the theatre for sure. Itâs as if a delicate bloom, admired for its beauty and ephemeral existence, decided to take its graceful leave of the stage. Her departure was, of course, handled with the elegance of an experienced dancer â no mawkish exits here! Her swansong was the exquisite ballet Diana and Actaeon, the original choreography by Frederick Ashton in 1962. She brought an unexpected sensuality and captivating maturity to the choreography - the essence of a captivating story of goddess and hunter. It is as if she'd been preparing this for her swansong throughout her entire career - so elegant, and exquisitely rendered!
Now let's hop over the pond to New York City Ballet for a breath of fresh air and sheer joy. You know I can't resist their legendary founder, George Balanchine - his Agon never fails to deliver the ultimate balletic punch. In his ballet, a series of complex, abstract patterns play out against the elegant simplicity of Stravinskyâs music - and this season's performance was electrifying!
New York City Ballet's always had that electric feel and thereâs something truly remarkable about seeing the works of Balanchine come to life again, decade after decade. Every generation of dancers has its own interpretation - it's fascinating to see how the choreography evolves over the years. I'm constantly enthralled by the intricacies of his works - itâs all about pure form and movement, like an endless ballet lexicon, exploring and testing the human form to its limits!
And while I was in the Big Apple, I couldn't miss American Ballet Theatre. Letâs face it, nothing beats the sheer power of Mikhail Baryshnikov. He's been out of the spotlight for years, but oh my dear, he was breathtaking as âSlavaâ in Alexei Ratmansky's The Bright Stream. I watched his performance in rapt attention, unable to believe the energy he still emanated at this age - the strength, the finesse, and the depth of emotion he pours into every move. A true master, through and through.
A highlight this month had to be my foray into ballet at the Musée Rodin in Paris! Now, this wasn't a traditional ballet, but a contemporary piece titled L'Apprenti. The beauty of contemporary ballet lies in its audacity, its willingness to challenge norms and break free from classical restrictions. And what better place for this daring performance than the heart of Rodin's artistic legacy? The space, with its sculptures, provided the ideal backdrop for a truly captivating dance. You just felt an electrifying mix of power and vulnerability from the performance. I am forever smitten with this juxtaposition of strength and elegance!
For those who appreciate the unexpected and relish the edgy, thereâs always Rambert - one of my favourite contemporary ballet troupes in London. It seems their new choreographer, Helen Pickett, has hit it off with audiences for her exciting interpretations of ballet in unexpected spaces. This season's "The Dante Project" - set in the midst of the vibrant, chaotic space that is a Victorian public bathhouse â left me absolutely enthralled. And her "The **Dream" - inspired by "A Midsummer Nightâs Dream" - is simply brilliant. We're all drawn to the playfulness of this wonderful piece, even those who haven't read the play itself. For me, Pickettâs works embody a very rare, even magical, sense of energy - so refreshingly free, she manages to meld athleticism and dramatic poetry into something absolutely spellbinding.
Speaking of magical - the enchanting world of ballet on film continues to beguile! I recently rewatched "The Red Shoes," the 1948 film that captivated generations of aspiring ballerinas and ignited a passion for dance in the hearts of many. What a masterpiece! The iconic performance, with the shoes, that become an obsession for both the dancer and the director... ah! What a beautiful tragedy, what a timeless masterpiece of the dance world.
And just for a touch of historical glamour, a film titled âFirst Positionâ captured a heart-stopping behind-the-scenes look at the âYouth America Grand Prixâ â the annual global dance competition for the next generation of ballet superstars. From the pressures of preparation to the exhilarating performances on the international stage, the film truly captured the spirit of these young dancers' aspirations. It reminded me, darling, of my own dreams, all those years ago. I almost felt the tears well up - I do get sentimental at my age! And the choreography was nothing short of mesmerizing - from classical ballets to contemporary masterpieces, you simply cannot go wrong with these fresh and energetic interpretations. A definite must-watch!
However, my journey isn't over yet. My dance card is full with even more breathtaking ballets on the horizon. July brings the return of Giselle to the Royal Opera House - one of my all-time favourite classics. And September promises to bring the glorious Swan Lake to Covent Garden - so much anticipation. I cannot wait to witness these timeless pieces once again and see the nuances and interpretations they are presented with in our current times!
And as I slip into my favourite velvet slippers and prepare for my next adventure, I hope youâll join me in celebrating the beauty of ballet, a constant inspiration, an ongoing journey - the perfect reflection of our inner grace.
Stay radiant, my dears!
Until next month!
Love,
Esmeralda
Your Dance Muse