Artiklar från 2008 – till idag
English National Ballet’s spring season at the Coliseum brought a welcome return of Serge Lifar’s Suite en Blanc. The ballet was a corner stone of the London Festival Ballet as the company was previously known and has been lovingly recreated by Maina Gielgud who learnt some of the ballet from Lifar himself.
The ballet has so much going for it: the enigmatic score by Édouard Lalo, the sharply defined choreography impregnated with French chic and a plethora of very danceable variations. Each of these has a singular essence and with a strong cohort of established and new talent there were many interesting interpretations on offer.
Anais Chalendard and Vadim Muntagirov in Suite en Blanc. Photo: Amber Hunt
Notable too was Yonah Acosta (nephew to Carlos) proving that dance is in the genes. He seemed unfazed by the fiendish challenges of the Mazurka cutting a cool, elegant figure. I hope this ballet continues in the repertoire as it rewards many visits.
Also in the programme was Vue de l’autre with choreography by company dancer Van Le Ngoc. A lightweight ballet, rather too dependent on meandering music and drifting scarves, it nevertheless gave opportunities for that thrilling pairing of Daria Klimentová and Vadim Muntagirov in a central pas de deux.
Adela Ramirez/James Forbat in Resolution. Photo: Patrick Baldwin
However the Black and White programme was followed by a week of Swan Lakes and at the Royal Opera House, Swan Lake was also on the bill. Seared on my memory is Royal ballerina Marianela Nuñez in the final diagonal of her act two solo creating the magic that Ivanov and Tchaikovsky must have dreamt of. She sailed through the lame ducks (was ever a step more misnamed?) as smoothly and majestically as a true swan with the warm humanity of a woman in love.
Mikrokosnos. Photo: Rosas
Nikolai Tsiskaridze as the Blue God. Photo: N Tsiskaridze's private archive
The Firebird however proved a better vehicle. Alexandra Timofeyeva, an exotic beauty with an imperious bearing, made a striking Firebird partnered by an exuberant Ilya Kuznetsov. Their final programme featured Le Pavilion d’Armide, L’apres-midi d’un Faune and Nijinska’s Bolero.
Pavilion was effectively choreographed by Jurijus Smoriginas in a convincing restaging to the saccharine sweet music of Nikolai Tcherepnin. With a veritable army of well trained dancers, companies like Kremlin Ballet have no trouble filling their ranks with quality performers and the dancers, both corps and soloists demonstrated finely tempered technique finished with eloquent ports de bras.
Alexandra Timofeyeva and Ilja Kuznetsov in The Firebird. Photo: Kristyna Kashvili
As stage lighting has moved on apace since Diaghilev’s day and there are no accurate records to provide guidance, Kremlin Ballet chose a multicolour medley of lights which seemed to detract from, rather than enhance, the stage designs. However an interesting experiment in reviving the past and I am pleased that there is still the money around to make these seasons possible.
FÖLJ OSS PÅ
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