Crystal Pite Royal Ballet premiere: Light of Passage, 18 Oct 2022

[Fonty]

@Pas de QuatreI wasn't saying the RB shouldn't commission new work, I was querying the type of new work being commissioned. 

 

I've never seen Petruschka, and I assume the Rite you mention is not the McMillan one.  However, Firebird is undoubtedly based on classical ballet movement.  Firebird herself is in a tutu and pointe shoes for a start.  The McMillan Rite is an interesting point, because that is more contemporary than classical.  Having said that, I love it myself, but it is usually scheduled as part of a triple bill with more conventional stuff.  Plus the choreographer could and did provide classical ballets as well, obviously.  

  

[FionaM]

From my first viewing of Flight Pattern I view the coat baby as a mental health issue.  This woman has lost her baby previously and this scene, to me, depicts her mental struggle with the loss.  Maybe she believes the coat is the baby.  It’s why the closing scene of Flight Pattern is so distressing and touching at the same time for me.   Here is a man who is clearly in torment at their situation, yet he is able to control his own anguish after a time and give comfort through the hand on her shoulder to the woman still cradling the coat baby. 

[FionaM]

In reply to @Fonty … I’ve noticed two very modern choreographers trend towards more classical dance moves in some recent creations.  I’d argue Wayne McGregor’s Dante Project has more classical ballet moves in it than previous works.  Ditto recent works by Juliano Nunes in Norway and Julier Tower.  

And I personally would prefer these over Christopher Wheeldon’s works which for me are veering into light musical theatre entertainment in the style of Matthew Bourne.  

[Pas de Quatre]

No, I was referring to the original Rite of Spring, choreographed by Nijinsky, which featured turned in foot positions and no classical technique at all. Stravinsky's music was considered controversial and there was famously a riot at the Premiere, with Stravinsky escaping through his dressing room window! 

 

The original costume for Firebird was inspired by oriental trousers and tunic, not a tutu in sight.  There is a wealth of ballet history easily available and I would recommend everyone to do some research. I could go on longer and bring in L'Apres-Midi d'un Faune. Fabulous original, and brilliant newer version by Jerome Robbins which is classical. 

[Jan McNulty]

1 hour ago, FionaE said:

 Ditto recent works by Juliano Nunes in Norway

 

And his glorious Interlinked for our very own BRB.

[San Perregrino]

2 hours ago, Fonty said:

From everything I have read this is a very moving piece, and and a terrific live theatre experience.  But is it dancing?  Is it the sort of the thing that should take up an entire evening with the royal ballet?

 

Those of you who loved it will probably say yes.  However, the more this type of choreography is added to the rep, the less time there is for the more traditional stuff that I personally love and want to see.  Are those of us who want classical ballet going to be confined in future to the Sleeping Beauty and Swan Lake in rotation (with the Nutcracker at Christmas) plus one of the 3 full length McMillan ballets?  With the occasional 5 performances of a triple bill with the odd Ashton or whatever sandwiched in just to show that the RB is still a classical company?  Have to say it is beginning to feel like that.  

 

 

Wikipedia states that Swan Lake was initially a failure but has gone on to become one of the most popular ballets of all time. Imagine if someone had consigned it to the bin after its first outing…
RB dancers seem to thrive on the challenge of new works and to evolve and grow as a result. With so much great classic, 20th century and now 21st century ‘stock’ in it’s repertoire, perhaps there will come a time when we have RB2 alongside the RB. 
There might even arrive a point in the future, if you’ll excuse the pun, when expecting people to dance en pointe is considered to be barbaric in the same way that binding feet was in China.

 

Edited October 23, 2022 by PeterS
Added comment

[LinMM]

Oh don’t go down that road!!! 
Although I don’t happen to think pointe shoes are absolutely necessary to express classical dance you could start saying wearing ice skates is bad for the feet too ….and certainly bad for the knees and hips when landing and taking off in jumps lol. 

[Pas de Quatre]

Pointe shoes are a tool/instrument.  The choreographer chooses to use them or not in the same way a composer decides which instruments are appropriate for a particular composition.

 

Here is the original design for the Firebird costume,by Leon Bakst, which has now been replaced by a tutu in most productions. 

Is this allowed mods?  Please delete if not.

Edited October 23, 2022 by Pas de Quatre
Add name of artist

[art_enthusiast]

3 hours ago, Fonty said:

However, the more this type of choreography is added to the rep, the less time there is for the more traditional stuff that I personally love and want to see.  Are those of us who want classical ballet going to be confined in future to the Sleeping Beauty and Swan Lake in rotation (with the Nutcracker at Christmas) plus one of the 3 full length McMillan ballets?  With the occasional 5 performances of a triple bill with the odd Ashton or whatever sandwiched in just to show that the RB is still a classical company?  Have to say it is beginning to feel like that.  

I loved this work (and the Dante Project) - but I do agree with you here. It's hardly fair if classical ballet lovers (I count myself as one, though I love contemporary works as well) have to be confined to the big name ballets only, when there are so many more niche/unheard of works in the Royal Ballet repertoire.
They should be able to commission fresh new works whilst continuing to maintain a varied classical offering, which we all know that they possess. Though I suppose some of this is to do with the impact of the pandemic, cost of living etc - go for mainstream names that will sell well.

[Fonty]

3 hours ago, Pas de Quatre said:

No, I was referring to the original Rite of Spring, choreographed by Nijinsky, which featured turned in foot positions and no classical technique at all. Stravinsky's music was considered controversial and there was famously a riot at the Premiere, with Stravinsky escaping through his dressing room window! 

 

The original costume for Firebird was inspired by oriental trousers and tunic, not a tutu in sight.  There is a wealth of ballet history easily available and I would recommend everyone to do some research. I could go on longer and bring in L'Apres-Midi d'un Faune. Fabulous original, and brilliant newer version by Jerome Robbins which is classical. 

 

I am not sure what point you are trying to make here.  The only ballets I can pass comment on are the ones that are performed in the UK.  When was the last time a company danced the RoS with choreography by Nijinsky? This is a genuine question, I have no idea.  On the other hand, the one with choreography by McMillan has withstood the test of time and is (or was) performed regularly.   I've seen pictures of the original costume for the Firebird, but the version with the red tutu is the one that the RB has used for the last 50 years or so, and I presume that is because it proved more popular. 

 

It seems that each time someone mentions that the majority of new works seem to be contemporary, rather than classical, many people get quite agitated and say this has to be done or the company will stagnate.  I just wish the resident choreographer at the RB was classical rather than contemporary, that's all. 

 

 

[Pas de Quatre]

The point I am trying to make is that new works which may seem outlandish to some are the life blood of a company. Works that are now part of the established cannon were once considered shocking, outlandish and lacking in merit. 

 

There are indeed many masterpieces in RB's back catalogue that should be revived. Many were choreographed for small stages, e.g. Ashton's early works produced at the Mercury theatre and it would be fabulous if there  could be a tour by RB of smaller regional theatres - but that is wishful thinking. 

[jmhopton]

Yes, I'm with you, Fonty. I'm not saying the RB shouldn't commission new works; far from it. I just don't see why it has to have new works every year. This way, the modern catalogue grows all the time but the classical/Heritage catalogue gets less as there is less time to stage and rehearse classical works; especially short ballets. There are so many of Ashton's and Macmillan's short ballets that are in danger of becoming obsolete because of the lack of performance and eventually the lack of anyone capable of staging them. The same could be said of Tudor, Cranko, Robbins, de Valois and some of the Ballet Russes ballets and even Balanchine. These are proven great choreographers but we only get to see a very small amount of their work, yet every year have new modern (often full length) works and triple bills which eats into the budget as well as stage time. The Ashton triple was a huge success both critically and in the enjoyment it gave to so many ballet lovers, but there isn't another one this season. After Mayerling, the only ballet I'm really looking forward to is Cinderella though it's not a favourite Ashton and I wish they'd do Sylvia (only revived once recently and not filmed, which was terrible) or Fille (not staged since 2015 which is criminal).

 

Incidentally, I saw The Crystal Pite on Saturday night as I had an enforced extra night in London because of train signal failure and it didn't do much for me. I didn't see much of what I (and possibly Fonty) would call dance apart from a pas de deux in the first act and another one in the last act. Both OK but the whole experience was more movement to music for me, than ballet. Very impressive movement and patterns but it didn't move me like it appears to do many people who saw it. Of course it didn't help that it came the night after Vadim's triumph in Mayerling and several times I just shut my eyes and drifted back to Mayerling; that was a ballet and a half! No tutus but just fabulous dance/acting and choreography.  However, the audience didn't seem to agree with me as the response at the end was tumultuous; the capping and cheering went on for ages; far more than for Vadim the night before which I didn't understand at all. Still, it would be so boring if we all liked the same (though I wish Kevin was more on the wavelength of myself and Fonty and would stage more heritage works)!

[bridiem]

41 minutes ago, Pas de Quatre said:

The point I am trying to make is that new works which may seem outlandish to some are the life blood of a company. Works that are now part of the established cannon were once considered shocking, outlandish and lacking in merit. 

 

I don't think anyone would describe Crystal Pite's work as shocking or outlandish - it's actually very easy on the eye. The point is that it's not ballet (though beautifully performed by the very skilled dancers of the Royal Ballet). Some people think that that doesn't matter; others think that it does.

Edited October 23, 2022 by bridiem
Correction to last sentence.

[capybara]

The audiences for modern works are always far more vociferous than at 'traditional' evenings.

From where I was sitting, I thought that Vadim et al were given a great reception.

[Jan McNulty]

1 hour ago, Fonty said:

 

 When was the last time a company danced the RoS with choreography by Nijinsky? This is a genuine question, I have no idea. 

 

 

 

Birmingham Royal Ballet performed the reconstructed Nijinsky Rite of Spring in 2005:

 

https://www.theguardian.com/stage/2005/jun/13/dance

 

The Mariinsky (still then the Kirov) performed the reconstructed Nijinsky Rite of Spring in 2003 (at ROH - I saw it there):

 

https://www.theguardian.com/uk/2003/aug/05/arts.artsnews

[jmhopton]

12 minutes ago, capybara said:

The audiences for modern works are always far more vociferous than at 'traditional' evenings.

From where I was sitting, I thought that Vadim et al were given a great reception.

 

I'm not saying Vadim wasn't given a great reception; he was (especially by me!) It's just the Crystal Pite supporters were louder/more vocal and took me slightly by surprise. Probably because I so seldom attend modern ballets I didn't realise the difference in reaction.

[Pas de Quatre]

It may be that the commissioning of new works is stipulated as a condition for funding!

[Peanut68]

3 hours ago, capybara said:

The audiences for modern works are always far more vociferous than at 'traditional' evenings.

 

At risk of being contentious…. I often think this says more about the audience than the performance…

Dare I suggest slight herd response whereby people wish to belong to the newest/latest/coolest?? 
Emperors New Clothes effect possibly too?

Tgis not in direct response to ‘Light of Passage’ as I have not seen it…. Mind you, the shortness of programme felt poor value for money & didn’t justify the travel time/expense & I did not especially enjoy Flight Pattern;- too much oh so earnest running & purposeful walking for my liking I seem to remember….All imho of course. And for the record I do really enjoy much contemporary but prefer seeing well trained experienced contemporary dancers performing those works…. I find very classical dancers such as RBS can be a bit cringe doing contemporary/modern dance in the same way I found Charlotte Church or Katherine Jenkins singing Pop of Jazz with their clear classical training actually hindering there embracing the style & freedom…..my thoughts anyhow.

I love to be challenged - even shocked by theatre. But too often attempts at this feel predictable & trite (& often a nod to PC ‘wokeness’ these days too).

 

[Emeralds]

We have a new work by Pam Tamowitz premiering next month too- like Pite’s creations, probably also not in the “classical technique and pointework” idiom in the Ashton/MacMillan/Wheeldon style (although these three have created works that mostly/wholly don’t use “pointe work and classical style” either eg Dante Sonata, Rite of Spring, After the Rain, etc). 

 

I don’t think a small number of works by Pite, McGregor, Tamowitz etc should be a cause for alarm that classical works are being abandoned or gradually being pushed out. We’re not losing Swan Lake, Coppelia, Sleeping Beauty, Giselle, Nutcracker etc just because we have some premieres that use less traditional idioms- look at how many shows of Swan Lake, Nutcracker and Giselle were presented last season. In the past we had numerous premieres by choreographers using contemporary technique or non-classical styles (of course I’m not going to list the works/dancemakers who haven’t stood the test of time at RB 😉) - they’ve come and gone, but our classical gems are still here. 

 

I just want to add a point of view - that of the performers. With regards Pite, Tamowitz, McGregor etc, it is very refreshing and invigorating working with these choreographers that they admire and respect, and being part of the process of creating an innovative and original work. Certainly where Pite and Tamowitz are concerned, the overwhelming feeling I had from the interviews with the company was that unlike some premieres where it feels like the company “have” to participate in a new creation because their director or one of their star principals wanted a work from the choreographer, I felt that the dancers themselves were really keen to work with Pite and Tamowitz.

 

Speaking to one of BRB’s stars some years ago when they danced Paul Taylor (which some might have said was a waste of their classical technique) she said that she enjoyed the different idiom because it was lovely for her feet not to be doing pointework for a change. She still went on to dance Giselle and Swan Lake later on that season with her sublime classical technique undimmed.

 

It is physiologically healthy for the dancers’ joints and feet to take a break from pointe work (women) and double tours (men) for a little while and  to return to strict classical technique later. Having seen the physical toll on the bodies and (unfortunately) technique of dancers in troupes that are forced (for financial reasons) to tour Swan Lakes, Sleeping Beauties, Don Quixotes etc  repeatedly without a proper break from the relentless demands of the classical repertory, you can see that the contemporary works are a helpful rest for the body and an invigorating change for the mind so that the dancers can return to their Nutcrackers, Sleeping Beauties and Cinderellas  refreshed and newly inspired. It may be the case that the pieces don’t do as much for some audience members as it does for the performers, but if we didn’t have the new pieces, then performing becomes less satisfying for the dancers, which ultimately leads to less stellar performances in the classics, and we all lose out. 

 

By the way, although Crystal Pite does make dance for contemporary companies such as Nederlands Dans Theater, Ballet British Columbia and her own Kidd Pivot, she also makes works for classical companies such as Paris Opera Ballet and National Ballet of Canada. Although there are no fouettes or entrechat six series in Light of Passage, there is still use of classical ballet technique eg the beautiful fourth positions performed by the corps, and the virtuoso solo made for Sambé at the end of Flight Pattern/Act 1 of Light of Passage. All top classical teachers will say the basis of classical ballet is not doing triple pirouettes or multiple double tours, but the basics like beautiful fourth and other positions with proper epaulement (use of head and shoulders). 

Edited October 23, 2022 by Emeralds

[FionaM]

Thank you for this last paragraph @Emeralds this is what I was trying to say … there were plenty of classical moves underpinning the choreography, not only beautiful fourth positions and ports de bras, but also arabesques en fondu, developees, pirouettes and jumps (I’m sure I saw Calvin horizontal in the air doing a supported jump with legs spiralling around the same as we see in the new Chinese pair of Nutcracker) 

 

They are incorporated into the more flowing movement of this piece and are less noticeable maybe, as they are not as posed (pause for photo!) as in classics.  

[FionaM]

Later today these words came to me …

 

“humanity reconnected” 
 

That’s what this ballet said to me … where is our humanity.  Let’s find it and reconnect.  

[li tai po]

Fonty asks some questions above about The Rite of Spring and The Firebird.

 

The Kirov Ballet revived Nijinsky's original choreography of The Rite of Spring (in Kenneth Archer's reconstruction) and brought it to the Royal Opera House in August 2003, sandwiched between Serenade and Etudes.  This version is also readily accessible on you tube.

 

Diaghilev presented The Firebird in 1910 with sets designed by the great Russian artist, Alexander Golovin, and costumes by Leon Bakst.  This production was toured constantly around Europe and America until the sets fell apart.  They were scrapped and not seen again.

 

Diaghilev produced a new version in 1926 with designs by another great Russian artist, Natalia Goncharova, and these sets and costumes passed down through the later Ballets Russes companies and were used by the Royal Ballet, when they brought The Firebird into their repertoire in 1954.  They are still in use today.

 

Following perestroika, the Kirov Ballet began to explore the ballets of Fokine and Balanchine.  They researched Alexander Golovin's original designs, which I believe were held in the Theatre Museum in St. Petersburg, and were able to present the ballet with its original designs for the first time since the 1920s. 

 

We have been fortunate in recent years in being able to enjoy both design versions of The Firebird on the London stage - Golovin in a flurry of greens and blues and Goncharova, where red and black predominate.

Edited October 24, 2022 by li tai po

[Scheherezade]

7 hours ago, Pas de Quatre said:

There are indeed many masterpieces in RB's back catalogue that should be revived. Many were choreographed for small stages, e.g. Ashton's early works produced at the Mercury theatre and it would be fabulous if there  could be a tour by RB of smaller regional theatres - but that is wishful thinking. 

 

They could also be performed on the Linbury stage. I thought that idea was mooted pre-Covid: a perfect platform for the large body of 20th century works that are in grave danger of being lost forever.

 

6 hours ago, jmhopton said:

 

I'm not saying Vadim wasn't given a great reception; he was (especially by me!) It's just the Crystal Pite supporters were louder/more vocal and took me slightly by surprise. Probably because I so seldom attend modern ballets I didn't realise the difference in reaction.

 

Possibly because the audience comprises more young people who tend to whoop a lot.

[Fonty]

5 hours ago, Scheherezade said:

 

They could also be performed on the Linbury stage. I thought that idea was mooted pre-Covid: a perfect platform for the large body of 20th century works that are in grave danger of being lost forever.

 

 

It was, yes, and it is an excellent suggestion. 

 

I am sorry, but I don't really understand the argument that the dancers like doing contemporary because it gives their feet a rest from pointe work!  You might just as well argue that a professional singer likes miming on stage sometimes because it gives their voice a rest.  I am not saying that all classical ballet should have the ladies in pointe shoes.  In fact, didn't ENB used to do the dance of the snowflakes in flat shoes in one of their Nutcrackers?  I would love to see pieces choreographed for women that would allow them to do some of the fast jumps and beats that are easier without pointe shoes on.  At least, I found them so when I was doing serious ballet classes. 

 

 

Edited October 24, 2022 by Fonty

[Pas de Quatre]

I think dancers (having been one) like new creations, particularly where the choreographer uses their input. 

 

Of course it is easier to learn jumps and beats in soft shoes, but a professional classical dancer (female) should be able to do them all in pointe shoes as well.  

[Fonty]

38 minutes ago, Pas de Quatre said:

 

 

Of course it is easier to learn jumps and beats in soft shoes, but a professional classical dancer (female) should be able to do them all in pointe shoes as well.  

 

Not as noisy though. 🙂

[San Perregrino]

it's good to see that, at least for now, all remaining performances of Light of Passage have sold out. 

[alison]

Yes, it came as quite a shock when I spotted that during booking this morning.  I'd thought I'd booked both casts, but obviously hadn't.

[Emeralds]

On 24/10/2022 at 09:18, Fonty said:

It was, yes, and it is an excellent suggestion. 

 

I am sorry, but I don't really understand the argument that the dancers like doing contemporary because it gives their feet a rest from pointe work!  You might just as well argue that a professional singer likes miming on stage sometimes because it gives their voice a rest.  I am not saying that all classical ballet should have the ladies in pointe shoes.  In fact, didn't ENB used to do the dance of the snowflakes in flat shoes in one of their Nutcrackers?  I would love to see pieces choreographed for women that would allow them to do some of the fast jumps and beats that are easier without pointe shoes on.  At least, I found them so when I was doing serious ballet classes. 

 

 

Not so much an argument as fact. Dancers who have performed the same classical choreography (Petipa classics, Romantic Era classics, Ashton and Balanchine) repeatedly all season year after year, without a change to other choreography (eg Graham, Robbins, Taylor, McGregor, Wheeldon, Pite, Forsythe etc) that uses different muscles and less classical style technique (including pointework, or a lot of pointework) confers a longer life span physically on the dancers, and they are out with injury less (all things being equal).

 

A dancer who can retire late in life hasn’t necessarily had a longer career if he/she spent a lot of time sidelined by injury for many seasons. Federico Bonelli said that the classics are the ones that take a longer time to recover physically from, and there are other prominent dancers from other companies who have said the same. Make no mistake though, the newer choreography like Pite, Taylor and McGregor are not soft options for someone to “rest” - they are equally demanding in other ways, especially with regards to lifts and partnering. But the break from classical steps does benefit the body physically.

 

We are intuitively believe the idea that more practice and more experience must lead to more improvement and hence must be a good thing, but dance and other branches of the performing arts (like opera and classical music) now recognise that repetition for its own sake and excessive repetition can be detrimental- musicians can get repetitive strain injury and arthritic changes in certain joints, singers definitely suffer voice damage (sometimes permanent) if excessive strain from too many performances of the same demanding roles (equivalent to ballet’s classics) are done too repeatedly. Allegra Kent (NYCB star) even noted after many years as a principal that it wasn’t healthy to practise jumps too frequently as an adult, as it took its toll on dancers’ joints, such as her own. The key to this is quality practice- making each attempt count. And obviously, a safe sprung floor and surface. 

 

There are no mime roles that singers would want to do (they’re done by actors and paid significantly less with the same performance and rehearsal demands on time and availability) but they do rest their voices by not agreeing to do too many roles and concerts each year. We do see what happens when some singers (often shortly after achieving fame) don’t heed this and over stretch themselves by saying yes to every offer or too many offers- they end up cancelling a significant number of shows as their body (ie voice) can’t handle the demands, which is disruptive for their colleagues and upsetting for fans who have spent a lot of money and set aside time to see them, and it damages their reputation and dependability. 

 

We need to accept that for dancers to have satisfying and longer careers, and less pain and damage to their bodies, that instead of 20 Petipa/Romantic Era full lengths and and 20 Ashton/MacMillan/Balanchine mixed bills a year, the key to a healthier body and dancing longevity  may be fewer performances of classics a year but to try to catch one’s favourite artists in them when they do perform them. Quality over quantity. 

 

I’m not advocating less Petipa, Ashton and other classics in the repertory of course- far from it. In fact, I’m probably one of the more persistent  voices on this forum asking for more Ashton, Bournonville, Petipa and other classics: Sylvia, Napoli, La Sylphide, Les Rendezvous, Ashton’s Cinderella (wish granted now!), Solitaire (MacMillan), Birthday Offering, Konservatoriet,  Raymonda (wish granted by ENB), Les Sylphides etc etc. I would like to see more varied combinations in triple bills with opportunities for more dancers, rather than the same works remixed with other repetitive combinations (the excessive Marguerite & Armand/Elite Syncopation combinations were a particular low point one season- why couldn’t a less commonly performed piece be introduced instead - especially with the lead roles more or less danced by the same dancers, and with M&A being really a “chamber ensemble” piece with not much dancing for anyone who isn’t Marguerite or Armand). 

[bridiem]

22 minutes ago, Emeralds said:

A dancer who can retire late in life hasn’t necessarily had a longer career if he/she spent a lot of time sidelined by injury for many seasons. Federico Bonelli said that the classics are the ones that take a longer time to recover physically from, and there are other prominent dancers from other companies who have said the same. Make no mistake though, the newer choreography like Pite, Taylor and McGregor are not soft options for someone to “rest” - they are equally demanding in other ways, especially with regards to lifts and partnering. But the break from classical steps does benefit the body physically.

 

On the other hand, I've heard dancers say that switching between classical and contemporary styles with their very different demands is extremely hard on their bodies.

[Emeralds]

3 hours ago, bridiem said:

 

On the other hand, I've heard dancers say that switching between classical and contemporary styles with their very different demands is extremely hard on their bodies.

It’s absolutely not a soft option or easy walkover to dance contemporary choreography or contemporary styles - not today’s standards or the physicality and virtuosity (eg some of Akram Khan’s choreography for himself and his own company look as tough as Olympic champion gymnastics and martial arts rolled into one). I wouldn’t like RB, ENB & BRB to have too little classical ballet (eg in some recent seasons the Paris Opera seemed to have very few classical ballet performances) but I think all dancers would like to have had some opportunities to work with international acclaimed dancemakers rather than only in-house choreographers. 

[Emeralds]

A slightly belated review of the first cast whom we had the joy of seeing on Saturday 22 Oct (evening performance). Joining me were some pals who included 1) an infrequent dance watcher (but has seen Fonteyn, Nureyev, Asylmuratova, Guillem, Osipova, Watson), who normally avoids “political subjects in art”, 2) someone who hardly watches dance, 3) a regular dancegoer whose declared favourite ballet is ....umm, Nutcracker. 😉

 

I was actually looking forward to the full ballet so much that I hoped I wasn’t expecting too much from it! But Pite and the dancers lived up to all expectations. Flight Pattern was even more powerful than I remembered it from the two previous occasions that I saw it (when it was already immensely moving). McNally and Sambé, Richardson, Dean et al were as compelling as previously, the corps were beautiful in their massed grace, emotion and strength. 

 

The children were impressive in the new second movement of the ballet/symphony, as were the adult dancers, all in black, that supported, danced and lifted them. Contrary to what one might expect from choreography for junior associates, the children weren’t given merely simple steps to easy rhythms, but the lifts, running and other sequences they were given demanded concentration, core strength and discipline, and were beautifully supported by their professional colleagues.

 

The third movement was beautifully designed with the bright shimmery set and costumes a welcome contrast to the grey of the first movement and black and white of the second. Beautiful duets for Lubach and Ball, Acri and Ella, and I like the fact that the choreography for Company of Elders members Isidora Barbara Joseph and Christopher Havell were not just mime but choreography that was befitting of older characters yet suited their technical capability. 

 

Throughout the whole ballet, the orchestra, soprano Francesca Chiejina and conductor Zou Tsokanou produced a stirring and powerful performance of Górecki’s Symphony of Sorrowful Songs (3rd Symphony) - a performance as emotional as the dancing on stage, a truly 4D experience. 

 

I was curious to see if my guests- more used to the classics or no ballet at all - would find it tedious, too short or poor value for money, or “too modern”, but pal number 1 liked that it was a thought provoking subject, pal number 2 liked having a full symphony and a variety of different performers, and pal number 3 enjoyed it too. I liked it very much in that now Flight Pattern was a part of a complete ballet and we could hear the beautiful Third Symphony as a complete work. While I probably would not pick the second and third movements to be a standalone work, I would still happily watch Flight Pattern (in my opinion the most inventive of the three parts, and also praised by Clement Crisp at its premiere) as a stand alone work in a mixed bill, but would most prefer to see the whole piece as a full length ballet. No-one thought it too short- we were too engrossed in the stirring music, powerful subject matter and the emotions of the piece. Any longer and it would probably have felt too exhausting or perhaps diluted the power of what we had seen.

 

A beautiful and thought provoking work, and I’d happily see it again....except that tickets for the remaining shows are all sold out. 👍😀 Bravi to all involved in Light of Passage.

 

 

[LACAD]

Just back from tonight’s performance which featured the opening night cast (McNally, Sambé, et al.)

 

It was truly a breathtaking evening, not too dark and depressing but full of light and levity which quite surprised me. The choreography was stunning, nobody is doing as rich and fine work for a corps de ballet as Crystal Pite and every dancer shone. In the soloist and pas de deux moments there were beautiful standout performances from McNally, Richardson, Sissens, Sambé, Dean, and Isidora Barbara Joseph. 
 

The power of this work is in its stunning simplicity. Allowing the rich movement and stunning music to shine. No gilded sets, no frilly costumes, just honest dance. And yes, much to the consternation of some more conservative audiences, there is a lot of ballet rooted in the movement (particularly in the paradisiacal final act).

 

What encouraged me most was seeing the opera house sold out, the hallways after filled with words of admiration (and some tears) for this wonderful company, and a most generous response at the curtain call. Seeing an amphitheatre of people of all ages united in reverence to a work that displays the awesome power of what people can do when we come together. 
 

I anticipate it’s return to Covent Garden.