First we had Mikhael Fokine's 1910 sensation THE FIREBIRD which marked a number of firsts: the first ballet score by Igor Stravinsky, the first original work that Diaghilev's Ballets Russes had presented in Paris, and the first based on Russian folklore. The Royal Ballet is using Natalia Goncharova's stage designs for the Ballets Russes 1926 revival and they add a whole unexpected level to the piece.
THE FIREBIRD made it's London debut at the Opera House in 1912 and it was also a big success. That connection amazingly continues to this day: the original Firebird was danced by Tamara Karsavina - a role which catapulted her to the Ballets Russes top table - and she in turn coached Margot Fonteyn in 1954... who coached Monica Mason in the late 1970s... and who is now on hand to help the new generation; I think it's only in ballet that you can find connections like this.
The plot is minimal: Tsarovich Ivan captures the mythical Firebird while hunting in a hidden part of the forest but she persuades Ivan to free her in exchange for one of her feathers which will summon her should he ever be in danger. Ivan discovers a group of princesses captured by the evil Magician Koschei and falls for the most beautiful but is quickly surrounded by Koschei's army of enslaved humans. He waves the magic feather and The Firebird appears to confuse and confound Koschei's army who all collapse in exhaustion; the Firebird also shows Ivan where Koschei keeps a magic egg which holds his immortal soul. Ivan smashes it and frees the enslaved people who stage a magnificent wedding ceremony for Ivan and his princess.
The tale might be trite but Stravinsky's thumping score sounded fresh and vivid and Christopher Carr's staging is an excellent showcase for Fokine's intriguing choreography and the elaborate staging of the climactic ceremonial procession where row after row of costumed extras fill the stage, it might not be ballet but it certainly is a spectacle! It was great to see a favourite dancer Itziar Mendizabal playing the lead role of the flashing Firebird; she was imperious while always in fluttering flight. It was just a shame that The Firebird doesn't make an appearance at the coronation. There was a bit of a "whoops" moment when Nehemiah Kish's Ivan was brandishing the magic egg to the ensemble... and the top fell off and rolled across the stage!
The mood changed totally for the next ballet, Frederick Ashton's 1976 adaptation of the Turgenev play A MONTH IN THE COUNTRY. As elaborate and colourful as THE FIREBIRD was, Ashton's A MONTH IN THE COUNTRY was nuanced and intimate.
As in the play, Natalia Petrovna rules her country home with a charming grace, adored by her husband Ysiaev, her son Kolia, her ward Vera and their close friend Rakitin. Her life is turned upside down however when her son's new tutor arrives, the handsome student Baliaev. He returns Natalia's affections but when Vera discovers them together, she jealously alerts the whole family to their subterfuge; Baliaev and Rakitin leave the house and Natalia is left alone with her lovelorn feelings.
Dame Peggy Ashcroft told Ashton that his version of the play was better than the original play and at only 40 minutes it certainly doesn't waste time getting on with the central plotline. It has Ashton's clean, classic tone and economic story-telling, leaving it to the dancers to interpret his characters with the depth they need, but he also provides delightful solos for others including a character dance for Natalia's son Kolya, created for Wayne Sleep and danced splendidly here by Luca Acri.
It is a haunting cameo of a ballet, perfectly matched to a selected score of music by Chopin. The cast were all fine: David Hallberg was good as the tutor Baliaev as was Meaghan Grace Hinkis as the impressionable Vera. But the heart of the ballet was provided by the remarkable Natalia Osipova - languorous lady of the manor at the start, she slowly blossomed into a woman in love only to be left crushed and alone, slowly walking towards an uncertain future. It is remarkable that only three weeks ago she was the vengeful and tragic Medusa.
Last was George Balanchine's stupendous SYMPHONY IN C, a celebration of classical ballet and it's dancers. We saw this last year where it joyfully stood out in a rather dour mixed programme but here it complemented the previous two very well.
Danced to a score by Bizet, Balanchine originally premiered it in Paris in 1947 but he re-choreographed it for New York City Ballet the following year. Balanchine was inspired by his early years dancing first with the Russian Imperial Ballet and then his years with the Ballet Russes during the 1920s.
Four couples dance to four different movements and Balanchine provides a whirlwind of pure classical technique: it's like every classical ballet finale only in abstract - no narrative, no named characters - so you can relish the solos, pas de deux and ensemble routines. With over 50 dancers all dancing in unison onstage as it reaches it's conclusion, it is wonderfully thrilling.
All in all, a wonderful night of ballet which helped having the cohesive Russian feel. Ironically, the Royal Ballet will be having a rest over the summer months while The Bolshoi Ballet jet in from Russia for a season, but this was an evening to savour.
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