For one night only, audiences in Frankfurt were treated to some world class ballet on the expansive stage of the Jahrhunderthalle. The Ballet Brilliance Gala is the work of former Bolshoi ballerina, Mariana Gomes, who since retiring has specialised in the curation of unique events such as this. Ballet Frankfurt disbanded in 2004, since then the area sees only performances from small touring ballet companies, so appearances from the likes of Marianela Núñez and Patricio Revé is certainly something to savour.
Let’s get the shortcomings out of the way first, the venue is not well suited to dance, the front rows of seats are not tiered meaning a few rows back I was not able to see much of the footwork. The hall can seat nearly 5,000 at capacity but sadly was not filled meaning audience members began to move around to seek a better vantage point. Lastly, the ushers had little interest in stopping people filming the performances, at times there were four or five phones just in my field of vision. Danced to recorded music and against a simple projected image for each performance the atmosphere was a little lacking initially but the talent on stage soon compensated for this.
David Motta Soares (principal with Staatsballett Berlin) made two appearances. First came a rather moody and brooding Don José to Maia Makhateli’s Carmen. As the gala opener, this was a cautious start; Makhateli (principal, Dutch National Ballet) uses her long limbs elegantly but there was never any real swagger from the pair.
Much better was Motta Soares’ showing with fellow DNB principal Riho Sakamoto in the Black Swan pas de deux. The partnership here was slicker, Sakamoto was wide eyed and devilish, agile and quick in her seduction of Motta Soares’ Siegfried. He was charmed by her, presenting her beautifully, while remaining light and poised in the jumps and turns of his solo. By the time the coda rolls around, both rise to the drama of Tchaikovsky's score, while remaining precise in the fouettés and tours. A very exciting watch.
Successful too, was Paris Opera Ballet’s first soloist Inès McIntosh, with another DNB principal, Constantine Allen. McIntosh suited the grandeur of the Le Corsaire pas de deux well, every balance and lift performed with grace and control. Allen was a charismatic partner, brimming with energy and a natural stage presence.
There were also brief bursts of contemporary repertoire, the best of which came from James Pett and Travis Clausen-Knight. In an evening of some newly established partnerships, abundantly apparent was the ease and experience with which these two dance together. Their fluid limbs and magnetic connection was engaging, in both the self choreographed pieces. Imago, a more angsty and heartfelt piece and later Nerve Wire, a pulsing, staccato number with strobe lighting packed a punch.
To the main attraction however, which was undoubtedly, Núñez and Revé. Revé is currently a guest artist with The Royal Ballet and there have been brief showings of his capabilities in the recent Natalia Osipova programme at the Linbury. Here in Frankfurt, we had a better opportunity to appreciate his talents through the Don Quixote wedding pas de deux and The Nutcracker grand pas de deux.
The pair clearly have a wonderful time together, Núñez positively fizzing with glee as they showboated through the Petipa choreography. The chemistry was raging as they shared knowing little glances whilst pulling off the most challenging jumps and catches.
Revé was exhilarating in his solo, strong and secure in his pirouettes à la seconde and always landing his jumps with style, while Núñez is the only one I can watch comfortably balance en pointe on one foot and know everything will be fine. The whole thing oozed confidence and they both radiated joy and a hint of mischief throughout.
The grand pas de deux from The Nutcracker, (of which Núñez was fresh from performing with Vadim Muntagirov the night before in London), struck a different note. This was majestic, with Núñez using every note of the music, she still managed to squeeze new things out of a role she’s performed hundreds of times. Here she rolled through her back luxuriously in the bourrées across the stage, in a performance that felt very extravagant despite the stripped back staging.
Revé channels his natural explosiveness gracefully too. There was a tenderness in the way he caught her as she fell elegantly into his arms, the thrilling newness of the partnership had me biting my lip.
It was somewhat devastating that we didn’t get the variations and the coda too, as the latter was used for a group finale which felt a little hectic. The Frankfurt audience was already won over, however, by the spectacular talents Gomes managed to bring together for this high calibre evening.
