This is the story of a rich and powerful prince who lost everything because of an inappropriate relationship with a 17-year-old girl. Sounds familiar? Before you think the sordid tale of Andrew Mountbatten-Windsor and his spectacular fall from grace has been made into a ballet, think again, for this saga is based on a far more intriguing scandal that occurred nearly 140 years ago.
Crown Prince Rudolf, heir to the Austro-Hungarian empire, entered into a suicide pact with his young mistress, Baroness Mary Vetsera, and their bodies were found at the Mayerling hunting lodge back in 1889. The almighty cover-up that followed means to this day no one knows exactly what happened on that tragic January night. The terrible occurrences inspired numerous books, films, television episodes (many of which romanticised the story) and one masterpiece: Kenneth MacMillan’s 1978 creation for the Royal Ballet, Mayerling.
Now back on the Royal Opera House stage, the ballet offers a supreme challenge to any dancer tackling the lead role: over the course of two-and-a-half hours we watch as the Prince disintegrates both mentally and physically. Initially frustrated by the oppressive restrictions of court life and a loveless arranged marriage, his actions curdle into something far more toxic as he embarks on a passionate relationship with Vetsera, instigated by his former lover, Countess Marie Larisch.
The ballet is told in flashback, beginning with the secret funeral of Vetsera (the corpse was dressed and propped up in a carriage between her two uncles to avert suspicion). MacMillan focuses on Rudolf’s failed relationships through a series of pas de deux: his cold and distant mother; his terrified new bride Princess Stephanie; the courtesan Mitzi Casper and Countess Larisch. But it is in his choreography for the Prince and Vetsera that he has created some of the most erotically charged dances seen on stage.
On opening night, Prince Rudolf was danced by Matthew Ball, giving a perfect depiction of a man slowly unravelling. He is obsessed with guns and death, unable to gain any sympathy from his mother and caught up in the machinations of Hungarian separatists. It is his encounters with Mary Vetsera that are most memorable. Melissa Hamilton’s Vetsera starts off as playful and flirtatious (she is obviously a social climber) before revealing a luscious sexuality in her pas de deux with Ball. They are reckless; limbs entwined around each other, locked in passionate embrace. It is strong stuff and the finale, when they meet their end at Mayerling, never fails to shock. Not to be missed.
Mayerling
Royal Opera House
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