Showing posts with label Liam Scarlett. Show all posts
Showing posts with label Liam Scarlett. Show all posts

Monday, June 11, 2018

MAGIC: Swan Lake

SWAN LAKE. What else?!
Photo: ROH 2018, by Bill Cooper

I thought I could get into the Royal Opera House's new Swan Lake on a press seat, having written a big article about it, but it turned out I couldn't, certainly not at short notice. Tickets for Liam Scarlett's production are like the proverbial gold dust and it seemed that checking back continually for returns was the only way. Therefore by chance I landed one of the best seats I've ever had: possibly not to everyone's taste, but wonderful if you like being almost on the stage, right over the French horns and harp and able to see every detail, including the evil glares of Von Rothbart, without opera glasses. Which I do.

Ballet heaven doesn't even begin to describe what followed.

John Macfarlane's designs are more than just detailed and opulent: they create a whole world that pulls you in and, however fantastical the drama, feels consistent and convincing. The lavishness of the pink marble and glowing gold ballroom scene caused a gasp and applause on curtain-up - not something I've heard at a ballet for a good while - and the parkland and palace gates of Act I similarly balance beauty and a sense of oppression. The lakeside, with lurid moon for act II and dappled clouds for act IV, is suitably gothic. The swan tutus are full of feathery loveliness - and the Hungarian princess, one of the four seductive young royals attempting to snare Siegfried's affections, seems to have half the foyer of the Franz Liszt Academy stitched into hers (quick solution to swan dilemma: go off with her instead?).

Cross Hamlet with Dracula and Giselle: the storytelling of this version leaps into focus. Rothbart is human(ish) by day, demon by night; when we first see him, in a new prologue set to the overture, he captures and transforms the unfortunate Odette, cradling her in his arms à la White Swan pas de deux, but looking as if he's about to sink his teeth into her long white neck. The pose creates resonances around that "iconic" image, normally just a passing (if wonderful) moment in act II. Several times before that when Siegfried tries to fold Odette's wings into an embrace, she resists, and that's probably why. When their cuddle is finally achieved, it has extra meaning.

Next, Rothbart is incarnated into the Queen's adviser, dressed from head to foot in black, exerting sinister control over the court - which he wants to infiltrate and destroy. Siegfried, brooding and mourning, loathes him. What happened to the King? Has the 'adviser' perhaps poured poison in his ear while he slept? Siegfried, refusing his instruction to go back to the palace at the end of act I, could witness Rothbart's twilit transformation if he bothered to turn around at that moment. Given his predatory hold over Odette and her companions, perhaps the creepiest moment of the whole production is when we see him escorting Siegfried's two little sisters into the ballroom. Will they be next?

So to choreography. Scarlett's own additions mostly integrate amid the original without jarring any sensibilities, idiomatically classical with an excellent feel for musical detail and cross-phrase imagination. The Act I Waltz and Polonaise are a huge improvement on the last production (I always felt that waltz was a mess - can't remember who choreographed it), even if I still hanker for the old Frederick Ashton ones from pre-1987. There's a beautiful solo for Siegfried set to the entr'acte - which in a way makes so much sense that one wonders why it wasn't done before. This one wins over the gorgeous Ashton solo, because frankly nobody could ever dance that one as well as Anthony Dowell. National dances are fun and full of "authentic" Czardas and Mazurka touches, though, to sound sour for a second, I found the Spanish number vaguely kitschy; and very glad that Ashton's Neapolitan Dance is still in place, as it's possible there would have been a balletomanes' rebellion had it been chopped.

Act IV is chiefly Scarlett with a centrepiece of a new pas de deux for Siegfried and Odette: it is woven out of a high-classical deconstruction of moves from the White Swan pas de deux as the pair try, hopelessly, to recapture that 'first fine careless rapture'.

Rehearsal of the new pas de deux


And the ending? Odette throws herself off the rock; the swans are saved; Rothbart dies; but Siegfried lives on, cradling the body of the drowned Odette. One can't deny that it prompts tears. But do we feel a sense of redemption? Not really - even though the music tells us it should be there. Siegfried has learned a lesson about love and loss, but he hasn't given his life for it. This matters. Perhaps they could usefully consider revising the idea in a future revival.

Our Odette/Odile on Saturday was Natalia Osipova, demonic and aflame in the Black Swan (no fouettés, mind - instead, a dizzying speedwhirl round the perimeter) and a suitably touching, dramatic Odette. Her prince was Matthew Ball, one of the company's rising stars: a perfect Hamlet-style Siegfried with  notably beautiful control of multiple spins and a meltingly lovely, blended and complementary partnership with Osipova. It's just been announced that he will join Matthew Bourne's New Adventures to dance the Swan in their next tour of that famed version. Meanwhile the mesmerising presence of Gary Avis as Count Dracula, er, Rothbart, just could not have been bettered.

The orchestra, meanwhile, was on splendid form, though Valery Ovsyanikov's conducting smoothed out some of the punchier edges at times and the slowish tempi can be a bit of an issue, but in staged ballet, that's probably inevitable. I do have a mild allergy to that thing where the tempo suddenly changes completely in the middle of a piece so that another dancer has a turn doing something different.

All I wanted to add - other than perhaps a different ending - was slightly deeper characterisation, as everybody is slightly one-dimensional except, intriguingly, Siegfried's mother, the Queen, with Elizabeth McGorian creating a whole wealth of personality and experience with a minimum of gesture. Some neater bows might help to secure the loose ends: what happens to Benno and the little-sister princesses when Rothbart takes the court into dry-ice, black swan-populated meltdown at the end of act III (or maybe something happened to them on the extreme right of the stage, which I couldn't see)? All this can be tweaked, added to, reinterpreted, etc, in due course if Scarlett and company wish to do so. For the moment, it's simply that I want to say something more constructive than merely I loved the whole thing to bits and pieces, it's total magic and I can't wait to see it again, which is also true.

Tomorrow's performance (12 June) is being beamed into cinemas worldwide. Go see.









Monday, May 29, 2017

Abstract? Is anything?

Zenaida Yanowsky in Symphonic Dances: angels, demons and revolution?
Photo: (c) Emma Kauldhar courtesy of Royal Opera House

I've been away for a bit, but before I went I hot-footed it to Covent Garden to see Liam Scarlett's new ballet, set to the Rachmaninoff Symphonic Dances. How many times have I sat in concerts, listening to this piece and quietly imagining a dream-ballet of my own to it, while the orchestra creates a choreography too, breathing together as if formed into a single coiled dragon? Finally someone got round to making it real.

Zenaida Yanowsky is a towering presence in more than one way. This creation is in some ways a farewell tribute to her, making the most of her unique qualities. The tallest, most commanding of the Royal Ballet's prima ballerinas - and sadly for us, about to retire - she can hold the stage with nothing more than a turn of the head or an implacable gaze. And, in this case, a billowing red skirt, designed by Jon Morrell. Whirling its scarlet wings, alone in what looks like a dimly lit warehouse with iron grill over the window, she conjures the ballet into life. It is all scarlet and black - how could this music be anything else? - and supposedly abstract.

What is abstract ballet, anyway? Balanchine is the epitome of it, as is Ashton's Symphonic Variations: music made visible, perhaps. The body is stripped not of its soul, but of its independence: physicality and sound merge into one expressive whole. There is no human tale to tell. The dancers become the choreographer's tool, nothing more. I remember interviewing one leading dancer who seemed almost horrified at the idea that he might have any input of his own into the work the choreographer created upon him; I also recall taking to Manon an American friend who had grown up on Balanchine and the NYCB and was aghast at the notion that a ballet could be about drama and not purely dancing.

Zenaida Yanowsky and James Hay.
Photo: (c) Bill Cooper
Perhaps it's in the conditioning - the conditioning of mind, that is, not muscle. Those of us who first met ballet through The Sleeping Beauty, Romeo and Juliet or Swan Lake early on became used to regarding a dancer on stage as someone human yet superhuman, a being with personality, but also with magical, transformative powers. There would be a background, too: Verona, a central European forest, or a lake of tears, suggested implicitly via a prince lost in the trees, or by a few hints in the scenery.

Therefore, when you see Yanowsky amid her red cloud, ferocity blazing out in the music, the image matches the sound to perfection. But what does it mean? Does it mean anything? Can it not mean something? Another kind of Zen would suggest "Don't think of a monkey"... So don't think of a story for this Zen. But how can we not?

Rachmaninoff, 1940. America. The emigré, the refugee, the exile. Remembering. Transforming. New attitudes, new worlds, chaotic memories. Old worlds, gone forever. In the first movement, energy explodes: figures run, groups form and shatter. There's athleticism, with an undertow of alarm. It's 2017, the anniversary of the 1917 Russian Revolution: hard not to remember that when faced with this music by one who fled. So is this revolution? Yanowsky settles from her demonic scarlet flight into a serene, almost immobile presence, to whom a young man (the excellently expressive James Hay) shrugs up and expounds idea upon idea as the saxophone melody unfurls. Is That Skirt a symbol of her status, her past, her separateness? Is she remembering, living or anticipating? Is she the spirit of revolution itself, inspiring them? Slowly she begins to engage with Hay; the dialogue becomes a duet. The meaning is in the eye of the beholder, but the images trigger free association. Grand skirt - aristocracy? Old Russia faced with violent transformation? One world meets another?

Waltz. What's happened to the skirt? Yanowsky is in something that looks like a tuxedo redux. She is surrounded by an all-male corps de ballets, and guess who's wearing derivatives of the skirt? If it's startling for a moment, we soon get used to it - the imagery is striking, groups massing and splitting and breathing together like that orchestra, the whirls of material enhanced by the visceral power of their wearers. The iron grill has been replaced by a giant screen on which images from those red swirls are sampled and projected. Is the skirt a symbol of power, transferred from princess to the people? Is Yanowsky, the sole woman, under threat here? Or is she, skirt-free, liberated, in command of them?


Yanowsky and Reece Clarke.
Photo: (c) Emma Kauldhar, courtesy of ROH

Rachmaninoff wrote the Symphonic Dances in the US in 1940: it was his last work. He corresponded with the choreographer Mikhail Fokine about turning it into a ballet (a thrilling prospect later scuppered by the choreographer's death in 1942). The Second World War was underway, though the US had not yet joined it and Russia would only be invaded the following year. Rachmaninoff, having lived for a while in Switzerland, had left Europe on the outbreak of war and was now in exile in Long Island. He drew on his deeply Russian nature, which had always infused every dimension of his music, but the energy of the US and the pent-up creativity that he had had to subordinate to his performing duties seem to have thrown a bolt of electricity into his orchestral writing. The last movement can be a cataclysm that leaves you hanging over the abyss.

But here, has our princess moved to America? Costumes are reduced to swimsuit size; the men and the women share and share alike; there's a thrill of athleticism and slightly Olympian poses here and there - shades of the Olympic games, Leni Riefensthal, Soviet parades? And Yanowsky has found a third partner who now suits her seemingly to perfection (he is the splendid Reece Clarke). Yet not all is resolved in this new world, for at the end, a peculiar coup de théatre involves a final escape, at least one hopes it does.

We all make our own stories, quietly, observing a creation like this. More than fifteen hundred of them a night in a theatre the size of the ROH. It's part of the joy of it that we don't know exactly what is going on, that perhaps nothing is, that perhaps all these processes are within ourselves, sparked by the images, the synergy of music, movement and aesthetics. So try the "don't think of a monkey" trick and see if you can treat this ballet as what it supposedly is: abstract.

The new Scarlett was part of a singularly satisfying quadruple bill at the Royal Ballet. The evening opened with William Forsythe's The Vertiginous Thrill of Exactitude. Five dancers and one very brave orchestra tackle the finale of Schubert's Symphony No.9 in movement that lives up to its impressive title. Basically, they don't stop. The movement is hyperactive, but each switch as clear as spring water; the glorious Marianela Nuñez in particular deserves every gold medal in town for making it look spacious and unhurried despite all. (It's only a pity that they are clad in eye-aching lime green and purple, which reminded me of a faulty colour TV my parents had in the 1970s). The tempo is fast. Very fast. The orchestra, plunging straight in, should probably get a medal too, along with their splendid conductor, Koen Kessels.

Francesca Hayward in Tarantella.
Photo: (c) Emma Kauldhar, courtesy of ROH
We were then treated to the enchanting spectacle of the company's youngest, newest and perhaps most exciting partnership: Francesca Hayward and Marcelino Sambé, dancing Tarantella, a joyous, irrepressible slice of south Italian pastiche by Balanchine, set to some virtuoso Gottschalk. I suspect the entire house lost its heart to these two wonderful young people, who spent most of their spotlight moment simply airborne in body and soul.

The one explicitly narrative ballet in the programme was Christopher Wheeldon's Strapless, an intriguing idea indeed. It tells the story of how one of John Singer Sargent's society models, Amélie, was shamed and ruined by a portrait which depicted her clad in an exquisite black evening dress with one glittery strap slipping loose down one shoulder. The hypocrisy of a society that could destroy a woman for such a gesture, while simultaneously enjoying the spectacle of the can-can or indulging in extra-marital affairs both straight and gay, is much to the fore and has resonances aplenty for our own Age of Twits. Natalia Osipova brought the full force of her dramatic powers to bear on the unfortunate society beauty, but what a pity there was not more for Edward Watson to do as Sargent: presented with a dancer of such phenomenal abilities, you'd like him to be asked to use more of them. The storytelling is fine and convincingly worked, but the whole falls a little short of one's hopes. Mark-Anthony Turnage's score is full of excellent things: rich orchestration resonant with percussion and fine perspective. Yet the clash of modern music and the period piece on stage can raise some questions: supposing Wheeldon had used music of the time and place instead, say a spot of Chausson, Fauré and/or Debussy? This is a tale for today, he seems to say - but the score bops us on the head with that idea one time too many.

And that's where the abstract wins. If there's a story, it will speak to each of us in its own way. We'll find it for ourselves.

Last performance tomorrow: http://www.roh.org.uk/mixed-programmes/the-vertiginous-thrill-of-exactitude-tarantella-strapless-symphonic-dances


Tuesday, December 11, 2012

The future's Liam Scarlett. And it's also Daniil Trifonov

I went along to Covent Garden to meet Liam Scarlett, at 26 the hottest new choreographic property in town. He's decided to give up his dancing career - which was going jolly well - to concentrate full time on choreography and Kevin O'Hare has created a new post of Artist in Residence at the Royal Ballet especially for him. My piece about him is in today's Independent.

It's fairly extraordinary interviewing ballet people after being used to musicians for so long. One doesn't like to generalise, of course, but first of all, they are so young...and so thin...and so lovely. They are poetic, intuitive, extremely bright and astoundingly determined, even driven - after all, it's a short career. Their vocation is the life they live - perhaps even more so than musicians. You know the business about a singer being his/her own instrument? With dance, it's like that, but it isn't a voice box; it's everything.

Meanwhile, it's a landmark day for me in a way I'd prefer to forget, really, but since I can't, I'm having a night off all my habitual high cultcha and  we're going to see Skyfall at the IMAX. As my own present to all of you - for to give is better than to receive - here is Daniil Trifonov playing the Chopin Polonaise-Fantasie at the 2010 Chopin Competition. I came away from his QEH recital last week thinking "Someone should book this boy to play Prokofiev 2, soon - it'll be his piece to a T." And guess what? He's playing it on Thursday at the RFH with the Philharmonia and Lorin Maazel.


Wednesday, October 17, 2012

A dancer-director hits the ground running

More ballet! I had the first interview for a national newspaper with the new director of the Royal Ballet, Kevin O'Hare. I found the one-time Birmingham Royal Ballet premier danseur thinking big, with a strong, clear vision for where he wants the company to go from here. Among the highlights we can look forward to are a triple bill in November of ballets from the three hottest British choreographers associated with the company - Wayne McGregor, Christopher Wheeldon and Liam Scarlett; a new one-act ballet by Alexei Ratmansky, probably to the Chopin Preludes (wonderful idea!), and more new three-acters in the future.

Incidentally, Osipova left the Bolshoi last year together with her partner Ivan Vasiliev, and their new company, the Mikhailovsky Ballet, appears to be OK about her making guest appearances elsewhere. Ratmansky was director of the Bolshoi for five years up to 2009.