It is so often the case that injuries, while devastating for the injured, create opportunities for dancers that may never have happened had they not had to fill in last minute. Such was the situation when The Royal Ballet’s ever popular Marcelino Sambé had to be replaced. Perhaps it was the fact that Calvin Richardson and Akane Takada had guested in MacMillan’s Romeo with Queensland Ballet in March this year, but it was an inspired decision by Kevin O’Hare to invite Queensland Ballet principal Patricio Revé to step into Sambé’s shoes.
Unsurprisingly, he is not yet well-known here, but he got off to an electrifying start. Being paired with one of the greatest ballerinas of this generation – Natalia Osipova – could not not have offered a better introduction to the Covent Garden audience and one that I can gleefully report met and even exceeded all expectations.
Now in its 60th year and performed by many international ballet companies, I have been watching this Romeo for almost all of those years. Thus it is the staggering truth to say that I have never once tired of seeing new or repeat interpretations. Once in a while, the chemistry between the lovers feels so genuine, so spontaneous that you feel both deeply moved and desperate to change the inevitable conclusion. At this performance, the overspill of tears during the crypt scene was treacherously close.
Osipova gave a completely believable and utterly riveting account of Juliet. She was so childlike at the start, her journey through to womanhood seemed like it was happening in real time. Every gesture and thought registering with her captive audience, her beautiful, light jump adding to her youthful appearance.
Revé is Cuban born and trained and presents all the attributes we have come to expect from that schooling. His countenance was instantly engaging, handsome and cheerfully playful with Mercutio and Benvolio. He was ardent, first with Rosaline, and visibly transformed by the time he fell for Juliet. Sparks flew when they first saw each other at the Capulet ball. From that moment on, we were in it for the long haul.
The balcony pas de deux was sensational; something about the way Osipova abandoned herself to the lifts, and Revé was such an able, attentive partner – between them they made it seem like they were breezing through it, while infusing it with blistering passion. He has a huge jump, with a feline quality and soft, soundless landings; beautiful lines and snappy, speedy pirouettes. His challenging solo moments throughout the pas de deux established the intensity of his emotions. By the start of Act 3, the couple were completely in thrall to each other, their passion etched on their faces and oozing from their pores. The sheer athleticism and physicality was overwhelming to witness.
They were surrounded by stalwart performances from the rest of the cast. Gary Avis and Kristen McNally as Lord and Lady Capulet were staunchly authoritative and easy to read. McNally elicited sympathy at Tybalt’s death and her compassion towards her daughter in Act 3 revealed itself subtly. Avis is the John Lewis of dance acting: never knowingly undersold/acted. He is so convincing and so underneath the skin of whatever role he tackles that I actually felt fearful for Juliet in Act 3. There was a moment when he had already pushed her to the floor violently as she took the brunt of his wrath. He raised his hand as if about to strike her again. His face flickered with doubt as he turned away – spine-chilling. He never disappoints.
In the roles of Mercutio and Benvolio, Luca Acri and Téo Dubreuil looked completely at home, Acri proving to be as good an actor as he is a dancer. We discovered his humour as a stepsister in Cinderella and although Mercutio is altogether more complex in terms of dancing and acting, he seems to be breathing new, exciting life into all his performances. Dubreuil’s pure classical technique and strong stage presence indicated that he is surely ready to tackle bigger roles.
Valentino Zucchetti was a highly persuasive, plausible Tybalt. I particularly liked the way he wasn’t entirely without compassion – a glimpse of something less angry or tyrannical would appear from time to time. The other stand-out performance of the evening was Daichi Ikarashi leading the Mandolin Dance in Act 2. The whole team were excellent but Ikarashi’s unbelievably controlled pirouettes and nimble split jumps drew spontaneous applause at every stage.
The Orchestra of the Royal Opera House under the baton of Martin Georgiev also received a warm reception and judging by standing ovations at curtain down, the evening was a triumph. One can only hope that O’Hare replays the Osipova/Revé partnership in other ballets in the near future. A magical evening.
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