Artiklar från 2008 – till idag
An unlikely pairing of Flamenco and contemporary, María Pagés and Sidi Larbi Cherkaoui, fused in Dunas. Taking its name from the dunes of the Sahara and cloaked in vaporous tawny veils, it was a visual fantasy. Pagés smouldering energy blazed centre stage while Cherkaoui, modestly reticent in taking the performing space, was generously acknowledged for his inspiration. This symbiotic partnership also drew in technology and visual arts.
Take the video projection on a panel that backgrounds his triple duet Adagio Hammerklavier; a curtain that ripples in the wind subtly suggesting the interior passions coursing between the couples under the austere formalism of the classical choreography. Passions that only briefly reveal their true nature in the sharply flexed feet that slowly stretch to full pointes with aching intensity
Throughout the evening each work was distinctive and each work was a masterpiece. Grosse Fugue, also danced to Beethoven’s music, has proved its pedigree by its longevity. Classical structure and modern innovation hold a fine balance as the dynamic current shifts and eddies.
The cast of eight superb principals made this a performance to treasure. Completing the bill were Solo, Concertante and Trois Gnossiennes danced by Larissa Lezhnina and Casey Herd with the incomparable Olga Khoziainova at the piano. Amazingly there is no sign of age in any of the ballets (though several are decades old) nor any suggestion of a recycled idea; at 79 van Manen proves he is still top of his game.
Stylishly modern and stunningly classical
The triple bill at the Opera House was exciting fare in a house not known for innovation. McGregor’s Live Fire Exercise is played against a slow motion reconstruction of a controlled explosion in the African desert where the US army test weapons. It is a work that proves McGregor’s phenomenal choreographic talents as he shapes dance with stylish modernity in a setting that is visually stunning.
The duets of extreme extensions and twisted bodies have an intense beauty but the work is troubling in that it vicariously toys with the power of the weapons while ignoring the immorality of war.
The programme notes state that ‘physical aggression is imbedded in classical ballet’. I beg to differ. Ballet is tough, but it is life affirming and a magnificently expressive art form. The sort of affirmation that pacifist Michael Tippet, whose profound music accompanies the work, strived all his life to achieve.
Balanchine’s Ballo Della Regina is a welcome addition to the Royal ballet repertoire and with Marianela Nuñez and Sergei Polunin in the leads it was nothing short of breathtaking. She finds joy in the fastest, most intricate choreography and Polunin has seldom looked better as he devoured the stage with the power of his runs and leaps.
Christopher Wheeldon’s DGV: Danse
à grand vitesse closed the programme. It sits well on the company and the four duets display the talents of the soloists admirably.
In a fine cast Zenaida Yanowsky took poll position looking absolutely right and absolutely stunning.
Maggie Foyer
June 13 2011
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