LACAD

Yes it was Katherine! She was sublime.

Initially I wasn’t super excited at the prospect of Jewels as I was for Kunstkammer - which would’ve been a UK premiere and something very radical and unique. But I quite like certain moments of Jewels, though I do find many points get a bit stagnant choreographically. As for Australian Ballet in Jewels, what a great way to make a strong return to the ROH! Emeralds had some brilliant dancing from Sharni Spencer and Callum Linnane (the company’s newest principals), another standout was the second woman in the pas de trois (unnamed in the casting) who was exceptionally lush and romantic. Valerie Tereschenko had the unenviably long, albeit very gorgeous solo and had a wonderful port de bras, but her fatigue became perhaps a little palpable - but that’s probably more Balanchine’s fault; one of the elements I don’t like in Jewels is how durational some of the sequences are. Rubies was great fun and the energy was very palpable. Ako Kondo and Brett Chynoweth were especially cheeky and playful in their portrayal. While I hate to critique too heavily on a dancer, I do feel Isobelle Dashwood was swallowed up by her role. She seemed to be holding back and apprehensive, a little stiff, which is a shame since when she goes for it it’s really wonderful. She’s a bit too controlling of her long limbs (and I mean LONG, I passed her by the theatre afterwards and she is noticeably tall). Maybe my critique comes from seeing too many videos of NYCB ballerinas who generally take more risks in the role. Diamonds does just go on for a bit too long. The pas de deux is wonderful but incredibly long. That being said - Benedicte Bemet, what a ballerina! She may seem young and fresh faced, but her physical technique, command, stamina, and artistry were spectacular. Her and the sorely missed Joe Caley were faultless in the pas de deux and the more virtuosic section that follows. The ending is also a real goosebump moment, perhaps I can see why Jewels was brought over Kunstkammer. I must say the real heroes of the evening were the magnificent women of the corps de ballet. I can’t recall a recent time where I was so wowed by a corps de ballet. The port de bras and epaulement were exceptional, neat footwork done precisely. Jewels makes the corps really dance, and the women of the corps aced this test of a ballet.

There’s definitely a dearth of male dancers at the top, but I will say Sangeun Lee is a very special talent and I’m quite excited to see her in action on stage in the coming season!

ENB announced that Sarah Kundi will be performing for the last time this weekend before moving on to a position at the Royal Ballet School. She’ll be sorely missed, a strong presence especially in character roles and the contemporary repertoire.

I’m back from an intense night at the gorgeous Staatsoper Unter der Linden. Marco Goecke’s Petruschka distils the angst of the storyline into his typical distorted and lightning quick manipulations of the dancers. Elisa Carrillo Cabrera particularly stands out as one of the villagers — if you can call them that, everyone is in a uniform pair of black pants with (or without) a flesh coloured top. Alexandre Cagnat was also very articulate in the lead role. I do feel I would’ve gotten more from this work had it been done in an intimate space. There’s a lot of small movements, detailed facial expressions, scenes with small props, and even though I was only in the first circle, I felt I was quite far from the action. Perhaps Goecke isn’t the best for a grand opera house? I’ll have to see more of his work live before I judge. Pina Bausch’s Rite of Spring was, of course, as much of a masterpiece tonight as ever. I’m afraid I don’t know who the chosen one was tonight as I’m not very familiar with the dancers of the company (she had her dark hair braided if anyone might know who she is), and she was up there with ENB’s Francesca Velicu’s Olivier winning performance as far as interpretation of the role goes. Interestingly — as with Carrillo Cabrera — Polina Semionova was among the ensemble of dancers in this work rather than as a distinct soloist. And while I was naturally tempted to keep my eyes on her when I could (I’ve never seen her live), I felt that defeated the tribal spirit of the piece and looked around the dirt. And there were some magnificent dancers in there, including one incredibly agile Babacar Mané (appearing as a guest dancer). This is my first encounter with this brilliant company, and I sincerely hope I cross their path more!

That’s very very sad to hear, and I hope for her sake that it doesn’t have anything to do with her injury and that she’ll be dancing somewhere else. I had the chance to see her in two Forsythe works - In the Middle, and Approximate Sonata. In the latter piece she was particularly excellent (a role she alternated with Alina!), such command and confidence, and brilliant intelligence in a role with lots of improvisation. Such a unique talent!

Very excited to see this bill as I happen to be in Berlin this week, will report back.

I felt the bill was perhaps a little plain and dreary. The McGregor has a great cast and I did enjoy its intensity, though there’s nothing really unique about it (as much as I love its choreographic aesthetics). Corybantic games is touching with its romantic pas de deux section, but also a tad plain, and Anastasia also manages to be a tad dull despite the melodrama. That being said — ¡Viva Laura! She smashed it.

I agree that perhaps the funds should go towards smaller scale companies, hopefully the big names are just the tip of the iceberg?

An update on this story.a Alice performed in Maurice Béjart’s ‘Bolero’ and got to “faire ses adieux” to thunderous applause. The performance was injury free!

Would love to see Sissens promoted! But like many of you I don’t think we’ll get a new principal just yet. I was really impressed by Hannah Grennel in the Tanowitz double bill, I think she has lots of potential. Leticia Dias would make a great first soloist, I think she’s ready for that responsibility. Masciari will definitely get somewhere, maybe not this season but I would be surprised if it’s not soon. From the Aud Jebsen group I’m quite struck by Alix Von Tiggelen. She’s learning how to command her long limbs to her benefit, and there are some really lovely videos on her instagram of her tinkering away in the studio. I’d love to see her have a few more roles, and hopefully join the main company!

I doubt it, she has been pretty vehement that she won’t return to the stage. I recall at her London Ballet Circle farewell that she had zero intention of returning, even if tempted.

I would presume they would’ve negotiated ahead of time before announcing the programming, I’m more inclined to think it has something to do with Goecke (but that’s just me). And to replace it with a work the company hasn’t even done yet feels especially off. Maybe NDT want to bring it to London first, but they’re already touring here with a mixed bill later this month and I doubt they’ll come back straight away. Perhaps I’m just a bit cynical as I was very excited to see the work, but also to see Aus Ballet tour abroad with a work that was quite the coup for them. It’s a little deflating to think they won’t get that chance.

Well that’s disappointing.

I recall a friend saying Prokofiev’s score for Cinderella sounds a bit like a beautiful machine that’s just slightly broken. To me it reflects the anxiety of the story, showing up at the party but knowing you’ll have to leg it come midnight!

It was also lovely to see some of the dancers from Tiler Peck’s programme in the foyer earlier! I spotted KJ Takahashi, Quinn Starner, and a very happy Lauren Lovette (I wonder if she was enjoying the performance).

Just back from the matinee performance with Ferri’s cast. The first act was so touching and strong with absolutely everyone stepping to the plate. Becomings I felt wasn’t as strong as the previous cast I saw led by Hamilton, this cast seemed a bit tired perhaps or not making full use of the fluid McGregor style. Joseph Sissens is a notable exception to this, what a dancer! Tuesday nearly moved me to tears, Ferri made even the simple act of walking appear like the most profound act on stage. Throughout the ballet she was just magnificent, a living legend. Mayara Magri also was a wonderful presence in the final act, so tender and caring. What I will say in response to annamk’s very valid reaction to the women in Becomings, McGregor generally as a choreographer is more interested in the construction of bodies together, something that is usually sexless and architectural. However in Becomings, which is based on Orlando, it’s no secret that there is a layer of sexuality in it. The book’s title character has many dalliances, I see this as why there is a certain sexual tension in many of the pas de deux. However to me it doesn’t always feel as if the woman are manipulated and degraded, there is manipulation, but in some instances the woman decides to wrench her leg up or to wrap her arms around her partner.

Some really excellent dancing, not just from Peck herself, but also Roman Mejia and Lauren Lovette (I would’ve never believed she was retired as she’s in perfect dancing shape). I can definitely see why Mira Nadon at her young age has been made principal, but she seemed a bit timid in the more abstract sequences of the evening, nevertheless a young star to watch. Choreographically I felt some of the pieces swung and missed, but the main draw of the evening was to watch the spectacle of these talented artists. Peck’s own choreography I quite liked, funnily it reminded me quite a lot of Justin Peck’s style (no relation). It was short and sweet. Alonzo King’s pas de deux had some very compelling opening solos, which Tiler especially tore through but the subsequent adagio felt a bit forgettable. One piece which combined tap and ballet was very spectacular, the only downside was some rather frumpy costumes and sometimes having a bit too much thrown in. But when it worked it was dazzling. As for Blake Works II, Tiler was ethereal. Musically sharp, dynamic, and totally owning her own style. I hope we get to see her in London again!

Last night’s performance was phenomenal, Nuñez really proved her acting chops in the principal role adding a great sensitivity particularly when she was not dancing. Her little looks and subtle gestures built a fully realised and very human character. It was wonderful getting to see her in such a visceral style of movement whenever she was in action. Melissa Hamilton was equally assured in the second act, she seemed to attract all focus on her which isn’t easy in an act as full of action as Becomings. Leticia Dias also showed confidence beyond her years as the second lead woman in Becomings (danced by Lamb in the recording). Having only seen said recording I can fully say Woolf Works is not to be missed in person if possible. It’s a ballet that feels incredibly intimate, and the second act’s lighting fills the entire auditorium becoming a truly immersive event. I’m very excited to see Ferri on the Saturday matinee!

No cinema releases as far as I know but their Snow Queen was broadcasted on the BBC and then later became available to stream on Marquee.

I almost anticipated Morera to retire performing Woolf Works! I agree that it would be magical to see her as Virginia

Just back from tonight’s performance, and what a wild ride it was! It’s so refreshing getting to see a ballet that as Ninette De Valois would say ‘heralds the future, and concentrates on the present’. AI can be a heavy topic but the audience never feels hammered with it. What shines though is not the technology of the ballet’s topic but rather the technology utilised in the work. Brilliant live-feed and prerecorded film projections bring a wonderful layer of intimacy to the ballet. Particularly highlighting the acting strengths of the principal cast. The choreography and storytelling is equally strong. There’s a deft use of a vert physical and sometimes even comedic style of movement, especially when performed by newly minted principal, the supine Bruno Micchiardi. The modern spin on the storyline should be clear to classical fans and newcomers alike. And as for Constance Devarnay-Laurence, well, what is there to say other than superlatives. Brilliantly nuanced in her acting skills on camera, a dynamic mover who takes risks in her stride. After seeing her as Abigail in The Crucible, I’m ever more convinced she is one of the finest principal ballerinas among Britain’s ballet companies. Scottish ballet have really won me over with this, and I can’t wait to see them again!

Unfortunately the only ballet I’ve ever seen Morera live in, fortunately one of the best performances I’ve ever seen in the sense of characterisation, musicality, wit. She stole the show with that small part.

Just back from this evening’s performance of the new Pam Tanowitz double bill (which also has a film). I’m totally new to her work, but am aware she’s had success in America. Her style is definitely rooted in Merce Cunningham’s technique, but possesses a quirky humour. It took some warming up to, and some dancers seemed a bit uncomfortable in this aesthetic. That being said the cast - made up of mostly young corps de ballet dancers - threw themselves into the work as best they could. The premiere work ‘Secret Things’ has some interesting elements, but is overall rather forgettable. ‘Everybody Keeps Me’, which is being revived for the first time, resonated much more both emotionally and choreographically. If Merce had his way with a Robbins ballet; that was the impression I got from this piece. Taisuke Nakao in the latter ballet had great command in manning an unenviably long solo. There was also a short screening of the ‘Dispatch Duet’, which featured at the recent anniversary gala. Ironically, this was the strongest piece choreographically in my eyes, a shame they couldn’t bring it to the Linbury.

I’ll give it another chance for Jeffrey’s sake. I wonder as well if there will be any tweaks made to the piece (iirc originally the work was meant to be a bit shorter and without an interval), but I’m not sure if Khan is one to alter his works.