This site has limited support for your browser. We recommend switching to Edge, Chrome, Safari, or Firefox.

Counterpointe

Twice a year the Australian Ballet relocate to the Sydney Opera House from their home in Melbourne to debut major works. Known as their Sydney seasons, this is the first time the company have ventured to sunny Sydney since late 2019 and Covid shook the world. Under the new directorship of David Hallberg, and with Australia essentially Covid-free, the season was steeped in anticipation, excitement, but also pressure for the company. With Hallberg’s first Sydney offering New York Dialects already receiving rave reviews, the company now present Counterpointe—a triple bill of three bite-size dance delights; Act III from “Raymonda,” Balanchine’s “Tschaikovsky Pas de Deux” and William Forsythe’s “Artifact Suite.”

Performance

The Australian Ballet: “Tschaikovsky Pas de Deux” / “Artifact Suite” / “Raymonda (Act III)“

Place

Joan Sutherland Theatre, Sydney Opera House, Sydney, New South Wales, April 27, 2021

Words

Claudia Lawson

Jarryd Madden and Nicola Curry with artists of the Australian Ballet in “Artifact Suite” by William Forsythe. Photograph by Daniel Boud

subscribe to the latest in dance


“Uncommonly intelligent, substantial coverage.”

  • Weekly articles from the world of dance
  • Wide diversity of reviews, interviews, articles & more
  • Support for quality art journalism

Already a paid subscriber? Login

On opening night at the Sydney Opera House the curtains open to a striking stage filled with light, ballerinas in bejewelled tutus, and their partners in crispy cream and gold. It’s an altogether brilliant opening filled with intriguing patterns and pas de deux that the company perform with delightful precision. Amber Scott dances Raymonda and Ty King-Wall is Jean de Brienne. It’s great to see them back. Sydney audiences haven’t seen much of the married couple since the birth of their daughter in late 2018, but on the Opera House stage there is no hint of the behind the scenes logistics or exhaustion that no doubt exists for the new parents. Scott’s technique is flawless, her solos enthralling in their emotion. A divine opening to the night.

Ako Kondo in “Tschaikovsky Pas de Deux” by George Balanchine. Photograph by Daniel Boud

On opening night Ako Kondo and Chengwu Guo made their debut in George Balanchine's thrilling “Tschaikovsky Pas De Deux.” Their performance is the reason you go to the ballet. The (also!) husband and wife couple showed finesse, technical brilliance, and a stage presence that radiated to the gods of the Joan Sutherland Theatre. The pas de deux is breathtakingly risky at times, with leaps by Kondo and catches by Guo that seem physically impossible. Hallberg has not only cast well, but picked a beauty to wow Sydney audiences.

William Forsythe’s “Artifact Suite” opens with low lighting and a stage stripped bare to provide an industrial feel. It’s a somewhat difficult transition to make following “Tschaikovsky PDD.” The dancers are dressed in deep green leotards and tights. On stage, the curtain rises and falls repeatedly, slapping the stage, revealing a new arrangement of the dancers. Bach’s Chaconne is played live by Kylie Foster who sits just offstage. The dancers perform Forsythe’s notoriously physical neo-classical choreography with intensity. Bold repetitive movements of swinging arms and legs fill the stage, with dancers performing duos and solos under spotlights. It’s a mesmerizing piece, but lacks the sparkle of the previous ballets. Ako Kondo is again featured in the first pas de deux, her fitness impressive. Benedicte Bemet, Isobelle Dashward and Sharni Spencer are also welcome faces on opening night.

What David Hallberg has brought to Sydney in his first season as artistic director is no small achievement. Both programmes, New York Dialects and now Counterpointe, have been impressively curated to highlight the company’s skill and depth of talent. Hallberg has showcased a wonderfully rehearsed and energised company. It will be exciting to see how the company continues to evolve from here.

Claudia Lawson


Claudia Lawson is a dance critic based in Sydney, Australia, writing regularly for ABC Radio National, ABC Arts, and Fjord Review. After graduating with degrees in Law and Forensic Science, Claudia worked as a media lawyer for the ABC, FOXTEL and the BBC in London, where she also co-founded Street Sessions dance company. Returning to Sydney, Claudia studied medicine and now works as a doctor. She is the host of the award-winning Talking Pointes Podcast.

comments

Featured

Futur(istic) Classic
INTERVIEWS | Victoria Looseleaf

Futur(istic) Classic

The son of a painter and a set designer, director/choreographer Jean-Christophe Maillot was, it seems, destined to have a life in the theater. Born and raised in Tours, in central France, in 1960, he studied dance and piano at the Conservatoire Nacional de Région de Tours before joining the Rosella Hightower International School of Dance in Cannes.

Continue Reading
A Golden Gift
REVIEWS | Karen Greenspan

A Golden Gift

As Belgian choreographer and dancer Anne Teresa De Keersmaeker approached her sixtieth birthday in 2019, she decided to gift herself a solo to the music of one of her favorite partners—Johann Sebastian Bach.

FREE ARTICLE
Good Subscription Agency