The Royal Ballet has made one of its most ‘full’ streams since the #WorldBalletDay started four years ago (we’ve been following it since 2015, when we launched the blog!). In addition to the class, the broadcast covers seven rehearsals (although some are just minutes), a class from the school, interviews and videos from partner companies such as the Royal Birmingham Ballet, English National Ballet and Scottish Ballet. There is content!
The presentation was made by the main character Kirsten McNally and principal Alexander Campbell, as last year. It’s really cool when members of the company are at the presentation because the comments are from people who live the ballet day to day. But I thought that they interacted little in relation to the Australian Ballet – those who do not understand much of dance may have ‘floated’ a little.
Olga Evreinoff, professor and invited rehearser of the company, gave the class. She is VERY demanding with the ends of the steps, directions and well-marked positions. I found the level very high, especially in the center with the pirouettes and practical center. It’s a very technical class, for those who want to improve – and not just ‘warm up’ for rehearsals.
I counted four main ones: Marianela Nuñez, Lauren Cuthbertson and the recently promoted Matthew Ball and Yasmine Naghdi (Did you see any more? Put them in the comments!). In fact, applause for Naghdi, that CLEAN ballerina! And it is one of the few that ‘dances’ during the execution of the steps, both in the center and on the bar.
As there are MANY rehearsals, I go only to the ones I thought were the coolest: I really liked Jojo, a choreography by Charlotte Edmonds danced by Joseph Sissens. In fact, it is worth highlighting the investment of the Royal Ballet in female choreographers – the flag raised by the English National Ballet at least two years ago.
Charlotte is a promising choreographer and Jojo was one of the most beautiful, fluid and enjoyable solos I’ve seen in the last few years. I loved the way she mixed neoclassical trends, casual steps and classic movements, and the choice of music set a different tone. High point for Sissens, that resourcefulness and control!
Another shoot that I really liked was Winter Dreams, with ex-couple Marianela Nuñez and Thiago Soares. This is the first time I’ve seen their rehearsal since they split up, although they danced together more often. It’s really cool to see that they still have a very good chemistry as partners, you can see that they ‘get along’ as colleagues. Very cool!
Marianela is one of the greatest dancers in the world, this is undeniable in this rehearsal. And it’s beautiful to see how much of a heart she “dumps” in the dance, even if she is offstage. I still think it carries a little bit of expressiveness in some roles, but here that dosage was perfect.
I found Thiago a little ‘restrained’ in the rehearsal, I don’t know if he is coming back from injury or if he preferred to save himself a little (sometimes it happens, you are not in that best day of spins, high leg, etc.). Even so, you can see why he is one of the first Royal dancers.
Another rehearsal that was the highlight of the broadcast was Mayerling, with Steven McRae, Laura Morera and Sarah Lamb; the redhead as Prince Rudolf, Laura as Princess Stephanie and Sarah as Baroness Mary Vetsera.
While the first pas de deux, with Laura and McRae, is extremely cold on the part of the prince and desperation on the part of the princess, the second, between the prince and his lover, is only desire. It’s amazing how McRae manages to change so completely and so quickly, as if it were a feeling of his own. Sarah Lamb is nowhere near one of my favorite dancers, but the chemistry she has with McRae is incredible: the two of them, together, can get and promote the best of each other.
In the interviews they speak well the passions of the characters, and how important it is to pass. “It’s the type of ballet that, no matter how much you rehearse and study the character, every time you go up on stage it is different. The mechanics of the steps we discuss and expect to happen, but it’s always unique, ”he said shortly after rehearsing with Sarah.
And he said, too, that every time he studies Rudolf, the feeling is different. “It all depends on how I feel about the character, it directly influences how I deal with Sarah, with my colleagues. It is a dream role ”.
Laura even talked about the characters being real, having actually lived. And that, of course, is not the same thing as playing characters from fairy tales.
“It is different because you can study, socially, where these people lived. But the way that Macmillan created ballet is not exactly like the story, so you need to dose it a little. ”
There is still much more to the broadcast: new productions, school rehearsals … It is worth seeing everything!
Haven’t you read our review of the Australian Ballet? Click on here.
Link to the broadcast: