The Australian Ballet are currently at the Sydney Opera House presenting Peter Wright’s 1990 Birmingham Royal Ballet version, which has been in the repertoire since 2007. It is a different version to the Royal Ballet one by Wright, filmed for ROH Live which I have reviewed ,and there is also in the Australian Ballet’s box of treasures Graeme Murphy’s fabulous Australianised version.
This version is quite traditional, a wonderful first ballet and is full of opulent set designs, (at times a little heavy perhaps ), some amazing costumes and sensational dancing . Lighting – originally by David Finn here recreated by Jon Buswell was terrific and the Christmas tree growing was enchanting. Continue reading THE AUSTRALIAN BALLET IN ‘THE NUTCRACKER’→
THE NUTCRACKER from Royal Opera House Live screens for a limited 3 day season in December. The Royal Opera House celebrates ten years of live cinema broadcasts in 2018, leading the way in delivering world-class opera and ballet around the world. The 2017/18 Season was the Royal Opera House’s most successful cinema season to date with more than one million tickets sold globally.
A young girl’s enchanted present leads her on a wonderful Christmas adventure in this beautiful classical ballet, danced to Tchaikovsky’s magnificent score.
The young Clara creeps downstairs on Christmas Eve to play with her favourite present – a Nutcracker doll. But the mysterious magician Drosselmeyer is waiting to sweep her off on a magical adventure. After defeating the Mouse King, the Nutcracker and Clara travel through the Land of Snow to the Kingdom of Sweets, where the Sugar Plum Fairy treats them to a wonderful display of dances. Back home, Clara thinks she must have been dreaming – but doesn’t she recognize Drosselmeyer’s nephew?
Event Cinemas and Village Cinemas in partnership with Trafalgar Releasing will exclusively screen The Royal Opera House THE NUTCRACKER this December at nineteen cinemas across Australia as part of the Royal Opera House 2017/18 Live Cinema Season.
Featuring filmed performances from the world-renowned Royal Opera House in London, the program presents the very best opera and ballet from the iconic venue, captured in jaw-dropping detail for Australian audiences to enjoy as if they were there themselves.
Danced to Tchaikovsky’s magnificent score, the beautiful classical ballet will take audiences for a wonderful Christmas adventure alongside Clara and her enchanted Nutcracker doll.
A firm family favourite with Tchaikovsky’s mesmerizing score, a Christmas tree that magically grows, a battle between toy soldiers and an Army of Mice, and the famous role of the Sugar Plum Fairy danced by Royal Ballet Principal Sarah Lamb with her Prince, Principal dancer Steven McRae, this event presented by Darcey Bussell is not to be missed. Continue reading THE NUTCRACKER SCREENS THIS CHRISTMAS→
Quick! Run! Book now if you haven’t already to catch this extraordinary screening of Natalia Osipova and Carlos Acosta in the Royal Ballet’s GISELLE which has just finished a sold out season at the Royal Opera House in London. Regarded as the epitome of Romantic ballet, GISELLE, created by Jean Coralli and Jules Perrot in 1841, is the story of a village girl who loves but is betrayed by Count Albrecht, a nobleman in disguise .
This is the very traditional Peter Wright version (he is interviewed and in the audience to watch it and brought on stage for curtain calls at the end) that has been around for about thirty years .Yet it feels amazingly vibrant and fresh. It is a clear and emotionally gripping performance .The sets and costumes in Act 1 are in autumnal russet colours, in Act 2 we see an eerie, misty, moonlit forest glade with Giselle’s grave marked by a rough cross.
Under the dynamic baton of conductor Boris Gruzin, we see the orchestra who are terrific and play Adam’s lilting score eloquently.
Former Bolshoi dancer Natalia Osipova who has just joined the Royal Ballet this season as Giselle is superb, playing this ‘Hamlet of the Ballet’, a very challenging test for ballerinas since its first performance. In Act1 Osipova convinces as the naive, delicate young peasant maiden in love with Albrecht. She is delicate and shy and her frail heart is emphasised. Yet she is bright and joyous at first and reassures anxious Berthe, her mother. In Act 2 she is like a moonbeam or gossamer.
The opening flirting pas de deux for Giselle and Albrecht is glorious and her ‘mad scene’ is shattering. In both acts we admire her astonishing elevation and ballon. Her appearance and first whizzing solo in Act 2 is magnificent, – fast and yet also blurry like delicate mist. Simultaneously she has incredible control in her adagio and a beautiful ‘line’. She pleads for Albrecht’s life in Act2 with delicate despair.