Assoluta

John Neumeier:

“Lady of the Camellias”

Royal Danish Ballet

September 19, 2014

 

Royal Ballet

TIVOLI

September 17, 2014

 

Ballerina Gudrun Bojesen spent most of last season abroad taking on new challenges, including a very innovative “Swan Lake” production in Norway. She returns to RDB to recreate her magic Marguerite in “Lady of the Camellias” and managed to take the role and thereby the production to new height and depths.

Seeing Gudrun Bojesen’s Marguerite three seasons ago was a revelation and a testament on how far she has developed as a dancer and actor from her base as an ingénue and Bournonville specialist. This time around she managed to put even more layers on her performance. Her Marguerite maybe of ill health but this is not defining her character. This Marguerite dies of a broken heart. The TB is downplayed. And that makes the story much more touching. But this is not merely good acting. Her musicality and movement qualities also give Neumeier’s sometimes rather awkward moves elegance and flow. It is one of the strongest individual performances I have ever seen at RDB or elsewhere. A real Assoluta.

Mad about the Boy

But her influence goes even further.Her Armand, Ulrik Birkkjær takes more than a page from her book, throws caution to the wind and delivers his career’s best performance as a touching and desperate Armand. Birkkjær is in the non-envious position of being the guy placed next to Alban Lendorf and shares many roles with him, Armand being one. Birkkjær has often seemed to rely too much on his strong technique and put character building in second place. But not in this role. He really nails it and in certain parts of the ballet outperforms Lendorf.  The dancers are working closely together and feed of each other. It makes me realize that Birkkjær has had few opportunities to be part of a good partnership. He has danced with every ballerina available, but has not been given the chance to really build a partnership. Bojesen is too close to retirement, sadly enough, but it would be a good idea to let Birkkjær enjoy the benefit of a steady partnership with a ballerina, lasting longer than two ballets. It could prove a very good investment.

Good Support

The supporting cast consists of veterans from last time as well as some new faces. Hilary Gusswiler Olympia is glamorous and alluring. Astrid Elbo, who got the part of Marguerite’s maid as a first year danceris still as impressive. She needs a real challenge and with her strong dramatic skills she could be an outstanding Birthe in “A Folk Tale”. Sebastian Kloborg is back from two seasons in Gauthier Dance in Stuttgart , and resumes the role as the besotted nobleman. And Lena Marie Gruber and Jean Lucien Massot reprise their fine performances as Manon and Armand father.

Doing Tricks

Kizzy Matiakis is new as the shifty Prudence, but she goes overboard in tricks and the partnership with Marcin Kupinski’s Gaston does not really work, as she overacts and he cannot handle the cheekiness of the character. Mads Blangstrup, who has joined the group of character dancers, after retired as principal, are the duke, Marguerites key client. With his strong stage presence and elegance he dominates the scenes he is in.

Finally second year dancer Sebastian Haynes proved an elegant DeGrieux. Haynes is a dancer with a great stage appeal who can fit the strangest employ. His next assignment is Madge in Hübbe recreation of “La Sylphide”.

His talent was recently rewarded with the Queen Ingrid Memorial Prize and he received the Royal handshake on stage in TIVOLI, where Royal Ballet performed a mixed program.

Rare Visitors

Royal Ballet has not been frequent guests in Copenhagen. During Peter Schaufuss’ reign  in Copehagen the did a full scale guest visit to the Royal Theatre, but since then small scale events, often arranged by Johan Kobborg , has kept some sort of a presence.

Having seen Royal Ballet regularly over the years in London, I have seen a company focusing more on the international repertoire than their own tradition.  The company has hired a number of top notch international stars over the year while only few of the home grown dancers have reached the top of the company.   It has often looked like the national tradition was relegated to a supporting role as best.  

Yes, they can fit in the odd MacMillan ballet, if it is a popular, romantic theme. But as far as the Ashton heritage goes there seems to too little focus on his contributions. Last night’s performance did include one Ashton Pas de Deux, but it was the “Voices of Spring”, an insert in a production of “Die Fledermaus”. Why not “Monotones”?  The program was supposed to include “Five Brahms Waltzes in the Style of Isadora Duncan” but that was changed. McMillan was represented by the “Manon” bedroom Pas De Deux danced by Carlos Acosta and Lauren Cuthbertson.

Local Voice

But one thing the evening showed was a strong presence of new British choreographers. With local talents like Christopher Wheeldon, Wayne McGregor and Liam Scarlet, Royal ballet has a lineup of choreographic talent that most companies must envy them. Even though the three pas de deux by the trio on the programme was rather generic, they have presented many stronger works.

The most English dish on the menu was Dane Kim Brandstrup's “Ceremony of Innocence” with music by Benjamin Britten. The ballet is supposed to be a variation of sorts of “Death in Venice”, a  subject we saw in Copenhagen last week in the Neumeier treatment. Brandstrup evokes a pre-1950 England with a gloom setting, no sunny Venice here. Edward Watson was effective in the almost non dancing lead role and once again one is impressed on how much Brandstrup can achieve with a very sparse collection of steps. Brandstrup is rumored as the creator of a new work for RDB.

The classical repertoire, so important for Royal Ballet, were defended by Akane Takada and Steven McRae in “Don Quixote Pas de Deux”   in a rendering focusing more on posing than  actual dancing. It did not really become any of the two dancers who also seemed a few tricks short of an excellent execution.

Jeremy Robbins’ “In the Night” was performed well, but not outstanding by Sarah Lamb, Federico Bonelli, Zenaida Yanowsky, Nehemiah Kish, Marianela Nunez and Thiago Soares.     

But the TIVOLI concert hall is not a great stage for dancing, and it looks like the works were chosen to fit the limitations. Six pas de deux’ in a row is not a brilliant concept.

Up, Close and Personal

There is a new group on Instagram called  @soloists_principals_rdballet. The group is run by a group of RDB soloist and principals, who uploads pictures, news and behind the scene films. So if you want to get a preview of say a new James in “La Sylphide”  do visit the page.

RDB at present is not strong in social media activities and this group can provide an inside view to company life, albeit a view from the top.  

Photos:

Gudrun Bojesen & Ulrik Birkkjær . Photo by Costin Radu (copyright(r) Royal Danish Ballet