A joyful gala event from The Royal Ballet in troubled times

Por Sarah Kirkup, 14 noviembre 2020

Descargando, espere, por favor...

“a thoroughly elegant performance, with Naghdi basking in MacMillan’s arm swoops and full-body dives”

Crítica hecha desde Royal Opera House, Covent Garden, Londres el 13 noviembre 2020

Scherzo (Valentino Zucchetti)

Rhapsody (Sir Frederick Ashton)

Monotones II (Sir Frederick Ashton)

Tchaikovsky Pas de Deux (George Balanchine)

In Our Wishes (Cathy Marston)

Swan Lake: Pas de Deux (Lev Ivanov)

Manon (Act 1 pas de deux) (Sir Kenneth MacMillan)

Concerto (MacMillan) (Sir Kenneth MacMillan)

Dance of the blessed spirits (Sir Frederick Ashton)

The Dying Swan (Mikhail Fokine)

Le Corsaire (Pas de deux) (Marius Petipa)

Within the Golden Hour (Christopher Wheeldon)

The Royal Ballet

Jonathan Lo, Dirección

Akane Takada, Bailarín

Alexander Campbell, Bailarín

Melissa Hamilton, Bailarín

Reece Clarke, Bailarín

Nicol Edmonds, Bailarín

Anna Rose O'Sullivan, Bailarín

Marcelino Sambé, Bailarín

Romany Pajdak, Bailarín

Calvin Richardson, Bailarín

Francesca Hayward, Bailarín

Cesar Corrales, Bailarín

Laura Morera, Bailarín

Federico Bonelli, Bailarín

Yasmine Naghdi, Bailarín

William Bracewell, Bailarín

Natalia Osipova, Bailarín

Marianela Núñez, Bailarín

Vadim Muntagirov, Bailarín

Christopher Vanderspar, Violonchelo

Katherine Baker, Flauta

Robert Clark, Piano

Kate Shipway, Piano

Orchestra of the Royal Opera House Covent Garden

La CND despliega un logrado tríptico neoclásico

Leonardo Mattana Ereño, 10th July

Tres coreografías de registros estilísticos homogéneos, pero capaces de reservar sorpresas gracias a las cualidades y el buen quehacer de la Compañía Nacional de Danza.

****1

Lucía Lacarra y Matthew Golding nos acercan las distancias

Jorge Baeza Stanicic, 23rd January

Lucía Lacarra y Matthew Golding, también afectados por la separación forzada, proponían una unificación de coreografías preexistentes en un todo unitario para compartir su experiencia vital, fusionando sus movimientos con imágenes proyectadas en pantalla y con una selección musical de carácter íntimo y profundo.

*****

Atlanta Ballet shines in a mixed contemporary program

Rebecca Ehrhardt, 3rd April

Atlanta Ballet's Golden Hour program featured two world premieres and the Atlanta premiere of Christopher Wheeldon's Within the Golden Hour.

*****

NYCB: Ratmansky’s The Naked King is not satire, but good fun

Ivy Lin, 7th February

New York City Ballet presents a very entertaining quadruple bill which includes Alexei Ratmansky’s latest work, The Naked King, showing off the company’s comic talents.

****1

Les « Racines » inégales du Ballet de l’Opéra de Paris à Bastille

Laurine Mortha, 6th October

Entre une pièce des années 1950 de Balanchine et les deux créations récentes des chorégraphes Mthuthuzeli November et Christopher Wheeldon, le programme mixte néo-classique produit un effet mitigé.

***11

The Royal Ballet’s Like Water for Chocolate is sumptuous but complex

Amanda Jennings, 1st October

The Royal Ballet’s season opener, Christopher Wheeldon’s Like Water for Chocolate, is visually tremendous, very well danced but the many principal and soloist characters are difficult to keep up with.

****1

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Sarah Kirkup

Sarah Kirkup has been Deputy Editor of Gramophone since 2010. She also writes for publications including the Royal Opera House’s in-house magazine and programmes for The Royal Ballet, and reviews dance events for cross-arts online magazine The Cusp. She is particularly interested in the relationship between music and dance, and has spoken on this subject at panel discussions, talks and events.