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![]() July 2003 London, Covent Garden by Bruce Marriott |
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Background Marvellous though the Kirov is in the big 19th Century classics, it's good to see some smaller, more challenging works. And they don't come much more challenging than Les Noces, the latest Kirov acquisition (discounting their first dawdling with it in 1907/08). It's coupled with two faithful mixed bill retainers that have been seen many times before. However look for thoughts on one of them, Scheherazade, elsewhere - a sexual romp that I always think Noddy must have advised on, and I went home early to see Newsnight in search of greater sexual frisson... (*)
Chopiniana
![]() © John Ross
The dancing was a mixed bag, the corps looking less impressive in some of the lines than they should and a few of the poses (it's a ballet of poses) looked rather stiff and unnatural - more like mannikins or Duane Hanson models. I've seen better but overall I was cheered on seeing an old friend of a ballet for the first time in ages.
![]() © John Ross
![]() © John Ross I find the Stravinsky score (4 pianos, 4 singers, much percussion) tough listening and the choreography hunched, clipped and often en-mass with the odd tableau thrown in. Inventive, but is that enough? The ballet if often depicted with that image of the stacked interlocking heads, topped by the Bride, but milestone though this piece is often thought, I don't think the Kirov dancing or production will do much to endear it to audiences. Only premiered in June this year, the dancing looked very ragged and the dancers not at all convinced that they should really be there and trying to do steps like this. This won't do - they need 110% conviction to carry off older work like this.
Sum-up
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