As hoped, a very good and often brilliant performance of both 'Rhapsody' and 'Two Pigeons', with 'Two Pigeons' coming off a little better on the emotional and dancing level. Both works paying affectionate tribute, by using his choreography for both works, to founder choreographer, and one of ballet's most influential, Frederick Ashton.
Would have liked for the video directing to be less close-up heavy, with more emphasis on the foot-work (the precision of the foot-work was one of Ashton's trademarks and should have been more on show) and the parts where it did happen to have more focus. Some entrances and such also seemed a little random. Despite liking 'Two Pigeons' a little more, both of those problems were particularly present in that over 'Rhapsody'. Have also seen Natalia Osipova much better than here, more dramatically than on the dancing front.
She is a long way from bad, she is expressive, dances with true elegance and grace and her chemistry with Steven McRae was pure magic, especially in the truly rapturous Pas De Deux. However there were times where she did seem nervous and seemed to be over-thinking the steps, so beautifully danced but a bit on edge and cold. Saw Francesca Hayward do it and she captured the spirit of 'Rhapsody' much better, one didn't get the sense that it was a challenge when actually it is a virtuosic challenge.
However, can't complain about the rest of the dancers. Steven McRae is truly outstanding in 'Rhapsody', to the extent that one can't imagine anybody else dancing the role today, he even very nearly eclipses Mikhail Baryshnikov which for a dancer is a huge compliment. 'Two Pigeons' was superbly danced across the board.
Not just by a radiant Lauren Cuthbertson but also a heartfelt and heart-melting Vadim Muntagirov. After her superb performance here Fumi Kaneko will hopefully go on to even greater things. Mustn't forget those pigeons/doves, on great behaviour and their involvement is perfectly choreographed and timed (making one question how did they do that).
Cannot say enough great things about Ashton's choreography. Whether it is the virtuosity, sometimes erotic nature and sensitivity of 'Rhapsody'. Or in 'Two Pigeons' the gentle wit and sharpness turning into delicacy and poignancy once the ballet takes a more serious turn. This is classic, at-his-peak Ashton and his trademarks are evident throughout (as well as the precision of the foot-work, there's his delicacy, witty but gentle humour and the use of the shoulders).
'Rhapsody' is beautifully expressive, affectionately virtuosic and erotic. By contrast, 'Two Pigeons' is both uplifting and poignant, don't always cry at the end of ballet productions, the ending of 'Two Pigeons' got me.
Both ballets are striking visually, simple but never cheap. The garret setting of 'Two Pigeons' had a lot of atmosphere.
Musically, the performance is perfect in both 'Rhapsody' and 'Two Pigeons', particularly the former. Warm, energetic and nuanced playing throughout and sympathetic conducting from Barry Wordsworth. One cannot review the production without mentioning Robert Clark's brilliant piano playing for Rachmaninov's music accompanying 'Rhapsody', Rachmaninov is a beast to play on the piano (the only other composer to come to his level and possibly surpass him in difficulty is Liszt) and Clark plays it like it has been in his blood for years.
Overall, a very good production of two wonderful ballets that in its best moments left me in rapture. 8/10 Bethany Cox
Would have liked for the video directing to be less close-up heavy, with more emphasis on the foot-work (the precision of the foot-work was one of Ashton's trademarks and should have been more on show) and the parts where it did happen to have more focus. Some entrances and such also seemed a little random. Despite liking 'Two Pigeons' a little more, both of those problems were particularly present in that over 'Rhapsody'. Have also seen Natalia Osipova much better than here, more dramatically than on the dancing front.
She is a long way from bad, she is expressive, dances with true elegance and grace and her chemistry with Steven McRae was pure magic, especially in the truly rapturous Pas De Deux. However there were times where she did seem nervous and seemed to be over-thinking the steps, so beautifully danced but a bit on edge and cold. Saw Francesca Hayward do it and she captured the spirit of 'Rhapsody' much better, one didn't get the sense that it was a challenge when actually it is a virtuosic challenge.
However, can't complain about the rest of the dancers. Steven McRae is truly outstanding in 'Rhapsody', to the extent that one can't imagine anybody else dancing the role today, he even very nearly eclipses Mikhail Baryshnikov which for a dancer is a huge compliment. 'Two Pigeons' was superbly danced across the board.
Not just by a radiant Lauren Cuthbertson but also a heartfelt and heart-melting Vadim Muntagirov. After her superb performance here Fumi Kaneko will hopefully go on to even greater things. Mustn't forget those pigeons/doves, on great behaviour and their involvement is perfectly choreographed and timed (making one question how did they do that).
Cannot say enough great things about Ashton's choreography. Whether it is the virtuosity, sometimes erotic nature and sensitivity of 'Rhapsody'. Or in 'Two Pigeons' the gentle wit and sharpness turning into delicacy and poignancy once the ballet takes a more serious turn. This is classic, at-his-peak Ashton and his trademarks are evident throughout (as well as the precision of the foot-work, there's his delicacy, witty but gentle humour and the use of the shoulders).
'Rhapsody' is beautifully expressive, affectionately virtuosic and erotic. By contrast, 'Two Pigeons' is both uplifting and poignant, don't always cry at the end of ballet productions, the ending of 'Two Pigeons' got me.
Both ballets are striking visually, simple but never cheap. The garret setting of 'Two Pigeons' had a lot of atmosphere.
Musically, the performance is perfect in both 'Rhapsody' and 'Two Pigeons', particularly the former. Warm, energetic and nuanced playing throughout and sympathetic conducting from Barry Wordsworth. One cannot review the production without mentioning Robert Clark's brilliant piano playing for Rachmaninov's music accompanying 'Rhapsody', Rachmaninov is a beast to play on the piano (the only other composer to come to his level and possibly surpass him in difficulty is Liszt) and Clark plays it like it has been in his blood for years.
Overall, a very good production of two wonderful ballets that in its best moments left me in rapture. 8/10 Bethany Cox