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
As bells sounded the theme opening Georges Bizet’s Carmen Suite, Simon Le Borgne sat slumped on an exercise ball, facing upstage, his head drooped so low he appeared in the spotlight as an almost headless Don José. Others entered, including Ida Viikinkoski as M., Don José’s betrothed. Trying to conjure him awake with sharp motions that ticked like a clock, she left him to the battalion of soldiers, lining up to serve as his firing squad. The effect was one of a bad dream, a premonition that was both the beginning and ending of Mats Ek’s “Carmen,” created for Cullberg Ballet in 1992 and performed by the Paris Opera Ballet on May 11, 2022, at Palais Garnier.
Alice Renavand et Mathieu Ganio in “Another Place” by Mats Ek. Photograph by Ann Ray
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