 |
   |
Royal BalletJune 2007 London, Covent Garden by Marike van Aerde |
|||||||
|
As posted on our Postings pages... Ninette de Valois not only founded the Royal Ballet as a company, but likewise created the foundations of the style and character of its productions, allowing the company to evolve as it has since its origin. The Royal Ballet's current triple bill successfully showcases this artistic evolution through the performances of key works from its three most influential choreographers, Frederick Ashton, Kenneth MacMillan and De Valois herself. De Valois' 'Checkmate' is, above all, an intriguing insight into the period of its creation. The designs, its narrative structure and the overall style of the dancing has the 1920s written all over it, and should be appreciated with this in mind. The intricacy and quite frankly the brilliance of De Valois' choreography, however, is a timeless feat; it is easily overlooked due to its subtlety, but it remains a challenge for the dancers as much as it is filled with often unexpected gems for the audience. All this is even further enhanced by Zenaida Yanowsky's powerful black queen, who truly commands the stage with her sharp technique and daunting presence. Ashton's 'Symphonic Variations' is rightly considered to be one of his best works. The perfection lies in its simplicity; the harmony of music and movement, and the abstracta that it portrays with so much subtle feeling - a combination that results in what only can be called a work of art. Federico Bonelli and Roberta Marquez danced a lyrical central couple, responding well to the musicality of the piece. Also remarkable was Ludovic Ondiviela, whose fluent movements and sense of timing almost seemed fully instinctive.
MacMillan's 'Song of the Earth' remains one of the most impressive works he ever created. Although it would not seem to need any further illustration, Mahler's song cycle actually merits greatly from MacMillan's choreography. The dancing emphasizes the music's stronger emotions and makes the humanity of the piece strikingly accessible, while at the same time maintaining an abstract level of expression throughout. Moving, strange, unsettling, intimate and beautiful, 'Song of the Earth' has the feel of a poem in dance. Darcey Bussell, in her last performances with the Royal Ballet, becomes a 'voice' of this poetry through her soulful elegance that is always perfectly balanced with her strong technique. Gary Avis is an expressive and ever reliable partner, while Carlos Acosta roams the stage with powerful intensity. Their pas de trois leaves a lasting impression - but it is Bussell's solo in the final song that really shows the heart of the piece. It is a wonderful finale for this inspiring ballerina's equally wonderful career.
|
||||||||
|
 |
||||||||
|
|
||||||||
|
|
||||||||
|
|
||||||||
|
|
||||||||
