It’s always an important date in the dance calendar: The Royal Ballet School Summer Performance on the main stage at the Royal Opera House. It was also the last of Christopher Powney’s decade long tenure as artistic director of the school. Pre-curtain up he paid tribute to Barbara Fewster, former principal and associate director, who had passed away two days previously at the age of 97. Thousands of former students will have known her.
Endearingly, he also said that while watching the performance, we should remember that the students taking part were aged between eleven and 19 and were not yet professional, quipping that it was sometimes hard to believe. And that is really the crux of it. These students embody professionalism and their combined talents and accomplishments proved to be truly astonishing.
First on the programme was one of the most challenging classical pieces, excerpts from Paquita. White Lodgers gave a near perfect account of the Mazurka before the Upper School students launched into the solos and very taxing ensemble work. Exemplary high standards throughout, there were still some revelatory standouts. Rebecca Stewart in the second solo possesses a wonderful, natural ballon which she used to great effect, soaring onto the stage with high grand jetés and larger than life ebullience. The two male solos, Emile Gooding and Alejandro Muñoz, were equally breathtaking and all three join The Royal Ballet next season. Ravi Cannonier-Watson (also joining The RB) was an elegant partner to the lissom Maia Rose Roberts and later proved his dancing was top notch too.
Excerpts from Didy Veldman’s zany TooT were performed by Year 11 and first year Upper School students. It’s a thoroughly enjoyable romp of a ballet that brought out some charming personalities, notably Adam Pearce as the Leader and Emma Lucano and Noah Campbell in an appealing duet.
Gemma Bond’s new Assemblage followed for Upper School men. What a vehicle to show off the depth of talent in all three year groups! They shone at all levels. The first half finished with Royal Remix, performed by White Lodgers from years seven to ten. Created by Iva Lešić, this set of folk dances was an utter delight. First, the children looked as if they were having so much fun and this joy was infectious. Secondly, the steps were not easy, especially done at speed. However, the huge cast pulled it off and brought the house down.
The second half opened with Ashton’s ravishing La Valse. Again, it was a large cast of swirling and pirouetting dancers. Ravel’s wonderful score swept them up and as can sometimes be the case with Ashton, the difficulty of the steps, the use of épaulement and the constant changes of direction, whilst challenging, did not faze the three top years. Tainie-Finn Grainger, Andrea Riolo and Katie Robertson looked completely at home in the style.
Ashley Page’s Fieldwork was a beautifully crafted, musically pleasing work for Year 11 White Lodgers who deftly negotiated the intricacies of the choreography. Joshua Junker’s Remembrance, which was originally created for the Dutch National Ballet Junior Company, was a tremendous contrast but equally riveting. Junker has a particularly interesting choreographic voice and is definitely one to watch. Jerome Robbins Mistake Waltz from The Concert just about works when taken out of context, but it made me want to see the whole ballet.
Helgi Tómasson’s Concerto Grosso for five men was the final ballet of the performance and worth waiting for. Gooding and Cannonier-Watson were joined by Joseph Birtles Clarke (who will join Dutch National Ballet Junior Company), Edoardo Savini (joining Ballett Zürich Junior Company) and Taira Watanabe in a display of dancing that couldn’t be bettered. The performances from each of these young men was of the highest calibre, even by professional standards.
The main stage annual performance always closes with the Grand Défilé, with the entire school on stage and to Czerny’s exciting Études. It never fails to make the hairs on the back of my neck stand up. The students were collectively remarkable, shaping a glorious future for the dance world in a programme that highlighted versatility. The staff (and the parents) must have been glowing with hope and pride.
A propos des étoiles Bachtrack