3, this is a world of glittering white classical tutus. The third act, Diamonds, takes us back to Balanchine’s roots at the Russian Imperial Ballet School and what is today known as the Mariinsky Ballet in St Petersburg. Their ability to derive such obvious pleasure from their performances is testament to their superior technique, and this carries over the footlights to a very appreciative audience. More awe-inspiring balances and extensions are provided by the partnering of Ako Kondo and Brett Chynowith, who at one point turns Kondo on her heel, providing a sudden and amusing contrast to the exquisite pointe work otherwise on show.įull marks to The Australian Ballet dancers for imbuing such technically challenging choreography with far more humour and sensuality than is normally found in this act. ![]() Then, in an act of one-upmanship, Dashwood executes an unaccompanied tilt and leaves the stage with a sassy look over her shoulder. For example, Isobelle Dashwood is gripped at each of her extremities by four different male dancers, one of whom firmly anchors her on pointe while the others contort her in all directions. Laugh-out-loud moments are coupled with exhibitions of physical prowess. In Rubies, the costumes are cut short to accentuate the leg work, which combines perfectly executed tilts (vertical splits on one leg) with sight gags that include simulated running and skipping. What follows is an explosion of jazz that is pure Broadway, and the dancers don’t hold back on the pizzazz. Hedditch also defies gravity with some perfectly cushioned leaps.Īko Kondo and Brett Chynoweth in The Australian Ballet’s Jewels. Perfect symmetry is also on show in a delightful pas de trois, which sees Drew Hedditch flanked by Larissa Kiyoto-Ward and Katherine Sonnekus. They move like shifting currents their ebb and flow hypnotic, especially when Linnane sweeps Spencer up and carries her in the opposite direction without losing any momentum.Īnother highlight is the iconic walking pas de deux, expertly performed here by Maxim Zenin and Imogen Chapman. More breathtaking dancing is provided by the pairing of Sharni Spencer and Callum Linnane. No one ever draws focus or breaks this perfectly synchronised manoeuvre. Holding hands, the female dancers form two perfect circles that never lose shape as they pass under each other’s hands held high, first to create an intersecting pattern like a Venn diagram, and then merging completely in two concentric circles. Slavic folk dances abound, and it is here that the company’s technical prowess is first put on show. This is Balanchine’s nod to Fokine’s seminal Chopiniana in 1908, and bejewelled bodices extend into diaphanous green tutus cut below the knee. The ballet opens with Emeralds, set to excerpts from Fauré’s Pelléas et Mélisande and Shylock. ![]() Now it’s The Australian Ballet’s turn, and Harvey’s cluster of jewels is even more impressive than usual, filling the space as if to say nothing’s better than more. No wonder Harvey has been called upon repeatedly to recreate his definitive version for companies around the world. This luxurious environment is far more conducive to Balanchine’s ballet than some of the more austere variants over the years. Its Turkish curtains frame the stage while a constellation of jewels floats above the dancers, turning emerald green, ruby red and diamond white with each act. ![]() Photo © Rainee LantryĪ particular highlight of this staging is the recreation of both Karinska’s legendary costumes and Peter Harvey’s original 1967 set design. Maxim Zenin and Imogen Chapman in The Australian Ballet’s Jewels.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |