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’→
ACO: TOGNETTI TCHAIKOVSKY BRAHMS
This is a vibrant , electrifying concert that was superbly played and had the packed audience bursting with enthusiasm. The work of two masters was paired with that of two female composers born in 1980 and included an Australian and a world premiere.There was a rich lustrous sound throughout. Continue reading AUSTRALIAN CHAMBER ORCHESTRA: TOGNETTI TCHAIKOVSKY BRAHMS→
This Theatre Des Bouffes Du Nord production combined a quirky Chekhov one act play with classical French comedic theatre techniques along with powerful classical music to bring off a great night’s entertainment.
The quality of the musicianship was superb – Floriane Bonnani (Violin and Original Concept), Muriel Ferraro (Soprano) and Emmanuelle Swiercz (Piano) set a high standard for their playing of the Bach, Tchaikovsky and Berio pieces. Continue reading On The Harmful Effects of Tobacco→
In this huge production by the Royal Ballet the dancing is superb, especially by the two leads. It has an extremely ‘traditional’ feel about it and is a 2006 attempt to reconstruct the famous 1946 Oliver Messell production that reopened the Royal Opera House after World War 11, starring Fonteyn and Helpmann.
This current production was always all about remembering the company’s immensely rich heritage. Monica Mason, then artistic director, set out to restore most aspects of the now legendary 1946-67 production by Ninette de Valois (director), Oliver Messel (designer), Ashton (coach and supplementary choreographer) and Fonteyn (prima ballerina).
Bigger than Ben Hur, excessively opulent , sumptous and over rich , this version of ‘ La Belle Au Bois Dormant ‘ (Sleeping Beauty) first produced in 1989 for the Paris Opera Ballet by Nureyev is actually quite fascinating from a historical perspective – steeped in the history of the Imperial Russian Ballet of the 1890’s , one can just imagine it being seen by the Tsar and his entourage. ‘After’ Petipa indeed, full of dazzling demanding academic virtuosity.