"Scenes de Ballet," "Five Brahms Waltzes in the Manner of Isadora Duncan,"
"Symphonic Variations," "A Month in the Country"
Choreographer: Frederick Ashton
The Royal Ballet
Royal Opera House, Covent Garden
London, UK
18 October – 14 November 2014
by Judith Cruikshank
copyright 2014 by Judith Cruikshank
An evening of Ashton. You might imagine that this would be a regular occurrence at the Royal Opera House, but not so. The founder choreo-grapher seems to be more honoured in his absence than by frequent performances of his ballets. So I'm happy to report that unlike most of the other programmes in the first part of the Royal Ballet season (the exception is Alice in Wonderland) there were no cut price offers or noticeable empty seats.
The evening offered three substantial ballets and one pièce d'occasion; “Five Brahms Waltzes in the Manner of Isadora Duncan”. “Scenes de Ballet” is a lovely piece and said to be the choreographer's favourite. It demands considerable precision from the corps de ballet, a quality somewhat lacking at both the performances I saw. I would however except both the male quartets who were bang on the nail.
Photo: Yasmine Naghdi, Vadim Muntagirov, Marianela Nunez and Yuhui Choe in "Symphonic Variations."
There were also two casts in the principal roles; Sarah Lamb and Steven McRae the more senior, and Yuhui Choe partnered by Valentino Zucchetti. Lamb and McRae performed the steps splendidly, a real show-off performance aimed fairly and squarely at the audience. Choe danced beautifully, fluid and musical, looking really happy to be on stage and Zucchetti showed real bravura. But I felt that none of the principals caught the spirit of the work.
It's always seemed to me that there is a mysterious atmosphere to this ballet – almost as if the audience is a interloper at some private ceremony. This may well be because Ashton made the ballet so that it could be viewed from any angle. But in any case, the décor, the chic tutus of the female corps with their pearls and elegant velvet hats, not to mention Stravinsky's music, make it stand out from the usual run of abstract ballets. But neither cast performed the work as if it were anything other than a conventional display piece.
“Scenes de Ballet” is short, just 20 minutes so we were given Ashton's tribute to Isadora Duncan as a makeweight. Happily this production has dispensed with some of the scenic accretions that the piece seems to have attracted since its original, simple premiere. But it needs a better pianist and more grounded, weighty dancing to succeed . Nor was either cast helped the marcel-waved aubern wig. And wouldn't it have been interesting to see one of Ashton's other short works for a change – for instance, the piece he created for Merle Park and David Wall to Delius' “The Walk to the Paradise Garden”.
No complaints about “Symphonic Variations” which brought the best performance I've ever seen in the principal male role from Vadim Muntagirov. He was due to give just two performances with a second cast, but due to withdrawal of Matthew Golding, he partnered the lovely Marianela Nunez on the first night – I wish I could have seen them as they are a potentially wonderful partnership. As it was Muntagirov drew all eyes with his beautiful, simple, classical dancing. No assumed airs and graces, he let the choreography shine through and his performance gained from it. The same should be said of Nunez, who, in addition to making her debut in this most iconic work, had to cope with the loss of her intended partner and adapting to one who was completely new to her.
This was Reece Clark, nineteen years old and in his first season as a professional dancer. Tall, dark, good looking and immensely promising he has a nice classical line and took the stage with seeming confidence. Seen from close to, some of the partnering seemed a little effort full, but one can hardly criticise him for that given his youth and lack of experience. It's not too fanciful the be reminded of another last minute debut in this ballet from a member of the corps; a young woman called Alina Cojocaru. Good performances from the side couples, especially Paul Kay who offered a series of lovely, smooth pirouettes.
Finally, the role every ballerina seems to want; Natalia Petrovna, the heroine of “A Month in the Country”. Sylvie Guillem certainly appeared to be weeping when she took her curtain calls after her final performance, and reportedly Zenaida Yanowksy also had tears in her eyes. There is no news of an imminent retirement from Yanowsky, though she is now among the company's most senior female principals.
The big news though was Natalia Osipova's debut in the role – not her first Ashton ballet however. She appeared in a somewhat cut down version of his “Romeo and Juliet” some years ago. In 'Month' her speed and lightness made her dancing appear as filigree as the lace ruffles on her dress. Her acting seemed to me touching and sincere. If she has a disadvantage it's her tiny stature and her young face, especially when the role of Vera, her ward, was played by Francesca Hayward, taller than Osipova and with a less childish face. Hayward would have looked better with the taller Yanowsky who instead was partnered with tiny Emma Maguire, who looked almost too young to be up so late. I should add that both young women were excellent.
Federico Bonnelli was an ardent Beliaev to Osipova's Natalia but Rupert Pennefather, happily back on stage, looked far too decent a chap to dally with his employer's wife. And tall as he is, he is only just tall enough to partner Yanowsky when she's on pointe. As Natalia her performance is well thought out, sincere and affecting but her height is a drawback, quite simply because she seems to tower over everyone else on stage.
Most of the other roles were well played. I especially liked Johannes Stepanek and Garry Avis as Natalia's rejected suitor Rakitin. Both men were entirely plausible as her 'chevalier servante' rather than some of the dry old sticks we have seen in the past.
Julia Trevelyan Oman's elaborate sets are beginning to look a bit tired and I'm glad to see that some of the clumsy wigs have gone. But what kind of household is it that employs a footman in livery in their country house, but allows the maid the run of the drawing room?
An evening of Ashton's shorter works is a very real pleasure and it was good to be reminded yet again of the breadth of his genius. If I have any cavils it is that this was perhaps an unenterprising choice. Surely there are other ballets which could be revived. Meanwhile we must be grateful for what we are given and politely ask for more.
copyright 2014 by Judith Cruickshank