Theatre
Review – Ballet triple bill: Concerto, Enigma Variations & Raymonda Act III
Joy Sable reviews three ballets currently on at the Royal Opera House
October 23, 2019 13:13
Joy Sable reviews three ballets currently on at the Royal Opera House
October 23, 2019 13:13Triple bills are usually a harder sell than the popular three act classics, but the latest offering from the Royal Ballet is a perfect mix with something for everyone.
The evening begins with Concerto, Kenneth MacMillan’s neo-classical exploration of pure movement, to music by Shostakovich. The corps on the first night were a little ragged – MacMillan’s choreography demands sharp footwork and the opening movement was somewhat lacking in precision.
Nevertheless, Marcelino Sambe soared through his solos and Lauren Cuthbertson was coolly elegant in the slow second movement.
Next ballet on the programme is Frederick Ashton’s 1968 work, Enigma Variations, a glorious sepia-tinged evocation of a late Victorian autumn; a hymn to friendship, affection and love.
Set to Elgar’s moving Enigma Variations – including the wonderful Nimrod – the ballet is a series of dances depicting several of Elgar’s friends. On the opening night, Laura Morera gave a warm and gracious performance as Elgar’s wife, while Francesca Hayward was a delightful Dorabella, all girlish charm and light footwork. Matthew Ball tackled his fast and furious variation as Troyte Griffiths with aplomb (though it is hard to dispel memories of Anthony Dowell, who created the role).
The company saved the best till last, with a shining performance of Raymonda Act III. Raymonda as a complete ballet is rarely shown in the West, and this piece is more frequently performed as a stand-alone ballet.
The choreography is by Rudolf Nureyev (hence some wonderful variations for the men) after Marius Petipa, the great 19th century French choreographer.
The dancing is a wonderful combination of pure classical ballet with Hungarian character dance movements added in: arms are folded across the chest, hands are held proudly behind the head, heels are clicked and feet are stomped.
All the variations are fiendishly difficult – praise to Itziar Mendizabal and Mayara Magri for their beautifully danced solos.
Sarah Lamb was a shimmering Raymonda, secure and seductive in her slow variation, while Vadim Muntagirov (replacing Steven McRae, who sustained a terrible Achilles tendon injury on stage last week) dazzled as Jean de Brienne. The curtain falls as the entire company joins them in a spectacular, rousing finale.
Concerto/Enigma Variations/Raymonda Act III is at the Royal Opera House until December 20.
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