A rare treat

LONDON: For London audiences used to a more traditional and more English diet, getting Jiří Kylián, John Neumeier and William Forsythe on one programme was a rare treat.

Although none of the works are new, for many in the audience this may be their first introduction to the choreographers’ work yet, amazingly, none of the pieces has dated.

Kylián’s Petite Mort is a jewel in the crown of the dance repertoire. Two of Mozart’s most iconic melodies and ingenious theatrical devices: the play of fencing foils and the wit of the black dresses, are brought together in Kylián’s most sublime choreography.

He is a choreographer who clearly defines the sexes, his men are at ease with their masculinity while his women are distinctly feminine.

Laurretta Summerscales and Ksenia Ovsyanick in particular, captured exactly the essence of his style. The company gave a near flawless performance, every foil behaved impeccably and each dancer finding the optimal shape and form.

In contrast to Kylián’s sensuality, Neumeier Spring and Fall celebrates simplicity in white clothed freshness. In this unadorned setting, the quality of his choreography both in structure and in the dance language, shines through.

Alina Cojocaru, who performs regularly in Hamburg has a special affinity with his works and this showed in her gentle elegance.

At the premiere Alejandro Virelles was less comfortable and there were still rough edges in the pas de deux which hopefully will be smoothed over in future performances. It was good to see Caesar Corrales working so well with Virelles and James Forbat in the first movement.

Corrales is well-known on the competition circuit for his technical brilliance and it was a pleasure to see him fitting into a company and developing as an artist.

Forsythe’s In the Middle Somewhat Elevated, written in 1987, is still the rebel as he shoves neo-classism into the post-modern world, pushing Mr Balanchine’s high extension dangerously off centre and loosening the formal framework into open-ended uncertainty.  Thom Willems super aggressive score sounds as new minted as ever.

The ENB dancers revelled in it and gave tremendous performances. Alina Cojocaru never ceases to surprise in the way she can switch so successfully from classicism to something as fierce as Forsythe and it was thrilling to see Begoña Cao boasting the same versatility.

The clarity and speed of Cao’s razor-sharp moves was eye watering and delivered with the insouciance of a gum-chewing teenager.

Alejandro Virelles, again paired with Cojacaru, looked wholly at ease with Forsythe’s partnering and they gave a tremendous performance. Crystal Costa made up for her tiny size with mega energy and Summerscales was thrillingly matched with Junor Souza.

I hope ENB continue to deliver programmes of this calibre.

Maggie Foyer
14 May 2015