ROYAL BALLET MIXED BILL: DIVERTISSEMENTS 5TH, 6TH, 7TH, 9TH JUNE'06
1930S: JOB: SATAN'S SOLO - DE VALOIS
This solo entitled "Satan's Dance of Triumph" has him dance in Heaven before God's throne, with fast music and insistent repeating figurations and melodically strident. In the final position, Satan kneels in mock adoration before he himself sits on God's throne. This solo was performed by Viacheslav Samodurov (5th and 9th evening) and Martin Harvey (6th and 7th evening). Viacheslav was majestic, capturing the essence of the solo, Martin was fearful and formidable. Both dancers were captivating in their own right.
1940S: DANTE'S SONATA - ASHTON
A short solo which is abundance with emotions and naturalism. Ashton was inspired to create a ballet about the devastation of the war, depeciting the mood and attitudes of the War time period. This wonderful solo was performed by Zenaida Yanowsky (5th, 9th evening) and Marianela Nunez (6th, 7th evening). Both dancers perfomed with lyricism and fluidity. The music was soothing and calming. Due to a short solo, and its naturalistic choreographic movements, it has aroused negative reviews amongst the critics, however, personally, I enjoyed the piece and would wish to watch it again. To be able to portray as much emotions to build up the atmosphere with simple choreography can be a huge challenge for both the dancer, and the musician.
1950s: BIRTHDAY OFFERING PAS DE DEUX - ASHTON
Ashton choreographed the ballet this piece in the 1950s, with the intention of glorifying his ballerinas' talents and qualities. The final pas de deux, was made for Dame Margot Fonteyn, for one of her many qualities, balance was one of them. The music for this piece is terribly glorious, the costumes are extravagant and rich. Jaime Tapper and Rupert Pennefather (5th, 9th evening) and Alexandra Ansanelli and Valeri Hristov (6th, 7th Evening) shared this piece. Jaime on her first night seemed unsure and nervous, the balance were managed, however one could not see that x-factor behind a balance. X-factor, being the ability to extend the balance to gracefully indulge into the following steps.
However, by the final evening, Jaime gave a much more assured and stunning performance, Rupert provided justly partnering skills, however, I feel, he was too relaxed and laid back. One hopes to see him as a prince who care. Alexandra was stunning in the two nights, showing off her wonderful balance and use of the upper back. Valerie gave a promising performance, with the constant eye contact with his partner to provide assurance . However, none of the cast were able to live up to Margot Fonteyn's magic. The two excellent dancers of our time, were lacking of something, the joy to dance.
This solo entitled "Satan's Dance of Triumph" has him dance in Heaven before God's throne, with fast music and insistent repeating figurations and melodically strident. In the final position, Satan kneels in mock adoration before he himself sits on God's throne. This solo was performed by Viacheslav Samodurov (5th and 9th evening) and Martin Harvey (6th and 7th evening). Viacheslav was majestic, capturing the essence of the solo, Martin was fearful and formidable. Both dancers were captivating in their own right.
1940S: DANTE'S SONATA - ASHTON
A short solo which is abundance with emotions and naturalism. Ashton was inspired to create a ballet about the devastation of the war, depeciting the mood and attitudes of the War time period. This wonderful solo was performed by Zenaida Yanowsky (5th, 9th evening) and Marianela Nunez (6th, 7th evening). Both dancers perfomed with lyricism and fluidity. The music was soothing and calming. Due to a short solo, and its naturalistic choreographic movements, it has aroused negative reviews amongst the critics, however, personally, I enjoyed the piece and would wish to watch it again. To be able to portray as much emotions to build up the atmosphere with simple choreography can be a huge challenge for both the dancer, and the musician.
1950s: BIRTHDAY OFFERING PAS DE DEUX - ASHTON
Ashton choreographed the ballet this piece in the 1950s, with the intention of glorifying his ballerinas' talents and qualities. The final pas de deux, was made for Dame Margot Fonteyn, for one of her many qualities, balance was one of them. The music for this piece is terribly glorious, the costumes are extravagant and rich. Jaime Tapper and Rupert Pennefather (5th, 9th evening) and Alexandra Ansanelli and Valeri Hristov (6th, 7th Evening) shared this piece. Jaime on her first night seemed unsure and nervous, the balance were managed, however one could not see that x-factor behind a balance. X-factor, being the ability to extend the balance to gracefully indulge into the following steps.
However, by the final evening, Jaime gave a much more assured and stunning performance, Rupert provided justly partnering skills, however, I feel, he was too relaxed and laid back. One hopes to see him as a prince who care. Alexandra was stunning in the two nights, showing off her wonderful balance and use of the upper back. Valerie gave a promising performance, with the constant eye contact with his partner to provide assurance . However, none of the cast were able to live up to Margot Fonteyn's magic. The two excellent dancers of our time, were lacking of something, the joy to dance.
posted by dewlyla at 3:16 PM
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