To Sir Frederick Ashton’s fast footwork and musicality belongs the Australian Ballet’s double bill “The Dream” and “Marguerite & Armand.” To the charming misadventure distillation of Shakespeare’s A Midsummer Night’s Dream bubbles “The Dream.” To the legend of Margot Fonteyn and Rudolf Nureyev, dovetails Amy Harris’s Marguerite, in Harris’s last stage role before her retirement. After 22-years with the company, Harris bids farewell in a delicious camellia-bloom, echoing Marguerite’s own departure (thankfully for altogether different reasons; Harris is retiring from the stage, whereas her character Marguerite is dying of tuberculous).FREE ARTICLE
This is decidedly not your mother’s “Nutcracker!” Sure, there’s that big, beautiful Tchaikovsky score—played by the Monte-Carlo Philharmonic Orchestra under the deft baton of Nicolas Brochot—as well as a little girl called Clara (an enchanting Anjara Ballesteros), who dreams that her toy soldier will one day be her main squeeze (Stéphan Bourgond). But as for Drosselmeyer, this is where any resemblance to those many “Nutcrackers” of Christmas Past ends.
Les Ballets de Monte-Carlo's Bernice Coppieters as Fairy Drosselmeyer in “Casse-Noisette Compagnie.” Photograph by Angela Sterling
When a choreographer takes on volcanic and iconic works from American musical giants like Leonard Bernstein and John Adams one move they could take is to cool them down with a couple of more soothing European works in between.Continua a leggere