Bayerisches Staatsballett in Neumeier’s Illusionen – wie Schwanensee
A coming together of Swan Lake and the ill-fated King Ludwig II of Bavaria, a troubled dreamer renowned for building castles and his homosexuality
A coming together of Swan Lake and the ill-fated King Ludwig II of Bavaria, a troubled dreamer renowned for building castles and his homosexuality
It is still a lovely ballet with a warm child centred approach, designed with flair by Van Schayk.
Curiosity and awe arise while observing this being who appears to be suffering in its own stillness, struggling to get out from an invisible restriction
In Mats Ek’s ballet, Nancy Osbaldeston… was a zesty Carmen. She insists on her freedom, seeing herself as equal with the men
Keller not only looks like an incarnation of the sylphs in the engravings of the ballet from the Romantic era, she also fills her creature with life
Two pieces by young choreographers, both of whom have a special relationship with the company: Mthuthuzeli November and Phoebe Jewitt.
All six dancers appeared in all four pieces, performing with class, commitment and bags of energy. Best, though was the way all connected with the audience
As musicians and dancers shared the stage, the music seemed to be bound together by moving bodies, which again were bound through the music
In Marco Goecke’s Le Chant du Rossignol, the dancers, all terrifically sharp, precise, appear from and disappear back into a deep, abyss-like upstage blackness.
I can safely say that I have never felt a swan’s breath on the back of my neck. Until now. Because that’s precisely what happened during Act Two…
‘Crash: reassembled’ by Astrid Boons, a reworking of her 2020 piece, and ‘IT’S NIGHT AGAIN’, a new work by Italian choreographer duo Panzetti/Ticconi