Celebrating the 40th anniversary of its premiere, Royal Opera House (ROH) Live opens the current season of opera and ballet with a stunning performance by the Royal Ballet of Sir Kenneth Macmillan’s MAYERLING. Superb performances by the huge cast are led by Steven McRae and Sarah Lamb .The fiendishly difficult, almost impossibly acrobatic death defying choreography is dazzlingly danced.
It is a dark and disturbing work, based on the true story of Crown Prince Rudolf (Steven McRae) and his mistress Baroness Mary Vetsera (Sarah Lamb) set against the backdrop of the stuffy yet rigid Austrian-Hungarian royal court in 1889 and the world of fin de siecle Vienna. There is also political turmoil bubbling underneath.
There are not many major ballet works that feature drug use, skulls and guns, especially to such a degree. And opera is also included in the party scene in Act 2. The staging is labyrinthine, the set designs looming and opulently lavish, the costumes incredibly detailed. Under the baton of Koen Kessels the ROH Orchestra is in glowing, passionate form. Lizst’s music swirls, ebbs and crashes towards the tumultuous tragic end. Continue reading ROYAL OPERA HOUSE LIVE : THE ROYAL BALLET PRESENTS MAYERLING→
THE ROYAL BALLET IN ALICE IN WONDERLAND
Bold, bright, colourful and exotic this is a wonderful revival by the Royal Ballet of Christopher Wheeldon’s ALICE IN WONDERLAND first seen in 2011. It is part of the Royal Opera House 2017/18 Live Cinema Season. Visually stunning it showcases some fabulous theatrical effects, wonderful dancing, and Wheeldon’s inspired, outstanding choreography. The work feels, at times, perhaps a little dominated by set and visual design values but it is a stunning visual feast and full of delightful whimsy.
As part of the Palace Opera and Ballet season, celebrating 70 years at the Royal Opera House, the Royal Ballet brings it season to a close with a tribute to its founder choreographer Sir Frederick Ashton.
The tribute comprised a marvellous triple bill featuring The Dream (1964), based on Shakespeare’s A Midsummer Night’s Dream, the non-narrative work Symphonic Variations (1946) to music by Franck (Ashton’s first work after World War 2), and then finally the 1963 passionate, tempestuous Marguerite and Armand (1963), based on La Dame Aux Camellias, created for the legendary partnership of Margot Fonteyn and Rudolf Nureyev to a Lizst sonata.
This particular performance also marks the retirement from the stage of principal Zenaida Yanowsky and at the end we see the extended curtain calls and appearances by several of her leading men who have partnered her over the years in various roles.
Opening the program was a delightful revival of The Dream. The forest clearing set was enchanting and beautifully lit, the Mendelssohn music gloriously played by the Orchestra of the Royal Opera House under the energetic baton of Emmanuel Plasson with the London Oratory Junior Choir giving a fine performance. The fairies were absolutely enchanting. Continue reading PALACE OPERA AND BALLET : ROYAL BALLET PRESENTS AN ASHTON TRIPLE BILL→
We were privileged to see absolutely dazzling dancing in this revival of Balanchine’s Jewels by the Royal Ballet.
This year marks the 50th anniversary of Balanchine’s work and a decade since it became part of the Royal Ballet’s repertoire.
The three works, all without a clear narrative structure, are a homage by Balanchine to French Romanticism (Emeralds) America and Broadway (Rubies) and the Imperial Russian ballet of Petipa ( Diamonds). The works feature scores by three composers – Faure , Stravinsky and Tchaikovsky.
This glorious, glittering production marks the 50th anniversary of this landmark work, choreographed by Sir Kenneth MacMillan, now regarded as a classic by the Royal Ballet. It gets the 2015/2016 Palace Opera and Ballet season off to a tremendous start.
With its sumptuous sets,including a portcullis for the outside of the Capulet mansion, looming scary angels for the crypt scene and Byzantine like paintings for the church scenes, very detailed and ornate costumes, wonderful lighting and the lush, lyrical, achingly passionate Prokofiev music, the Royal Opera House orchestra under the enthusiastic energetic baton of Koen Kessells were sensational, this is a splendid version. This ballet feels as fresh as if it was created yesterday, and MacMillan’s extraordinary, very detailed and at times extremely difficult choreography dazzles. Continue reading PALACE OPERA AND BALLET PRESENTS THE ROYAL BALLET IN ROMEO AND JULIET→
Three years in the making, this new, specially commissioned work by Christopher Wheeldon is a major landmark production. It is only the second new full length narrative ballet commissioned by the Royal Ballet in the past twenty years. Technically it dazzles and at times it is emotionally shattering.
One of Shakespeare’s difficult ‘problem plays’ with a very complicated plot, it has never been adapted for the ballet stage before. Wheeldon returns to the Royal Ballet’s history of full length narrative works , following in the footsteps of Macmillan and Ashton for example , in this splendid work ( not forgetting his own ‘Alice’s Adventures in Wonderland’. )There are six main roles and lots for the corps de ballet ensemble to do – especially in Act2 in Bohemia as bucolic shepherd/esses in an enchanting pastoral setting.