Thrilling performances open the London season

LONDON: The new season at Covent Garden opened with Kenneth MacMillan’s Manon, now a mature 40 year old ballet. It retains its popularity in part because of the powerful roles it offers; roles that challenge both technical and dramatic skills.

It is also a work that makes use of a large ensemble and at times the numerous variations seems like unnecessary padding but it cannot be denied that MacMillan has structured a highly successful ballet libretto from the bones of Abbé Prévost’s novel.

The premieres of new stars in the lead roles brought added excitement. 22 year-old Francesca Hayward made her debut, her first full-length lead, in the role of Manon. Young, pretty and burstling with life she brought a breath of fresh air to the decadence of 18th century Paris.

Teamed with Edward Watson she had the benefit of a thoroughly dependable partner. Although rather too mature for an idealistic young student, his talent ensured that this was never less that a totally credible performance.

Hayward was utterly delicious in the famous bedroom pas de deux, madly and passionately in love then managing an equally convincing transition to Monsieur G. M.’s mistress and the life of a wealthy courtesan. Her dramatic skills were put to the test in the final scene as ill and exhausted she dies in Des Grieux’s arms.  Here she pulled out the stops in a heartbreaking finale.

A few days later came the much anticipated debut of Vadim Muntagirov in the role of Des Grieux. Looking every inch the part, he proved an ideal match for the role. He has the maturity to give depth to the character while his technique has a textbook purity.

The role was written for Anthony Dowell who set new standards for male dancers, and MacMillan exploited his facility to the full. The choreography gave Muntagirov ample opportunities to display his breath-taking arabesque and fine-tuned musicality.

The casting at this Sunday matinee would be difficult to match: the balance was near perfect. Sarah Lamb was Manon. Her blonde curls and blue eyes are made for seduction but she is shown to best advantage when her prettiness is allowed a cutting edge.

To see the gleam in her eye when she is offered furs and diamonds is to understand the duality of the role: a women passionate both in her search for love and for material wealth.

Lescaut, Manon’s bother, is a charming scoundrel. Valentino Zucchetti captured the essence of the man: his feet as sharp as his wits in a performance that never missed a detail.

His solo in Act 2 was bliss. With the studied concentration of the very drunk, he launched into his dance so extremely off balance as to draw grasps from the audience and a look of panic from his long-suffering mistress, a sparkling Yuhui Choe.

Gary Avis’ Monsieur G. M. was a chilling portrait of power and venality. His sneering glance reduced people to objects to be used or, more often, misused. I was thankful there was an orchestra pit between us.

Each well-drawn and acutely defined character added impact to the drama, and together with the wealth of fine dance, delivered a thoroughly satisfying performance.

 Maggie Foyer
15 October, 2014