Five stars
It glitters, it glows …
The Australian Ballet is in fine form in this Balanchine major work, an abstract piece that sparkles with EMERALDS, RUBIES AND DIAMONDS.
The Australian Ballet are celebrating their 60th birthday this year. Balanchine plumbs the idea of movement inspired by the various jewels and draws on his Russian roots in the first plotless, abstract ballet. Regarded as a whole, the trilogy can be seen to display Balanchine’s propensity as an exile and romantic, as well as tracing the history of classical ballet. Sorry folks, while yes much attention is rightly paid to Karinska’s glorious costumes for the women, I was most disappointed in the costumes for the men in EMERALDS and RUBIES.
The dramatic set (a seemingly simple cyclorama backdrop and what looks like a necklace) as designed by Peter Harvey in 1967 and Associate Scenic designer John Carver Sullivan glitters and sparkles with the various jewels. The Orchestra under maestro Daniel Capps was in excellent form.
Each of the three acts is distinct in style and mood, set to music by three different composers: Fauré for Emeralds, Stravinsky’s Capriccio for Piano and Orchestra for RUBIES and Tchaikovsky’s Third Symphony for DIAMONDS.For all three pieces there were precise lines and circles of patterns of choreography.
Balanchine’ choreographed JEWELS for the principal dancers who inspired him, and the legacy of the original cast (who read like a stellar list from the New York City Ballet ) still remains.
Created for Violette Verdy, first was the green EMERALDS, which has a nimble lustre. It evokes the style of French Romantic ballet with refinement and poise. Faure’s music was enigmatic and wistful while the choreography featured a series of pas de deux and trois embellished by the female corps de ballet giving the work an atmosphere of imperturbability.
This was very much in the traditional classical style, with undulating patterns and circles of choreography and beautiful fluid or long stretched portes des bras . Finicky pointe work, travelling turns and difficult lifts are also included as is a regal like walk.
There are some fabulous moves in the pas de deux, folding, entwining, twisting and the ballerina solos were sensational.
Reverberating red was next for the spectacular Rubies, originally created for Patricia McBride, Patricia Neary and Edward Villella.
Balanchine’s choreography was at times angular, witty, spiky and playful with thrilling, flying leaps. It was dynamic and snappy. A jazz influence could be seen in the headlong leaps, the epaulement and arms, perky hip thrusts, impish jogs and striking crisp footwork but Giselle like arms were included too. The showy male solo combines both balletic Prince and Broadway lead. There is a jaw dropping segment for a ballerina, regally balanced en pointe while folded and unfolded, controlled by male dancers, in some ways perhaps foreshadowing Macmillan’s Manon?
The final work DIAMONDS, originally created for Balanchine’s major muse Suzanne Farrell, glowed lustrously in white and soft gold. A panegyric to the ballerina (“ Ballet is woman”), it’s a homage to imperial Russia and Petipa, as well as evoking his training at the Russian Imperial Ballet School in what is today known as the Mariinsky Ballet in St Petersburg and then his works with Diaghilev’s Ballet Russe.
The work was full of precise, rigorous lines and patterns of choreography. Some sections were reminiscent of for instance the ‘Waltz of the Flowers’ from The Nutcracker , and one parade segment brought to mind the traditional opening of Act 3 of The Sleeping Beauty ( aka Aurora’s Wedding ) .The pas de deux at one point had quite the atmosphere of a traditional Swan Lake. The women were athletic but appeared fragile. The men show off their leaps, turns, cabrioles and tours a la seconde with a great flourish and a creamy stretched ‘line’ Intricate lifts seem effortless.
All concludes with a triumphant tableaux, arms extended as if to make the curtain rise, though it actually brings it down!
Running time 2 hours 40 minutes including two intervals
https://www.sydneyoperahouse.com/the-australian-ballet/2023-season/jewels#
The Australian Ballet’s JEWELS is at the Sydney Opera House until 20 May, State Theatre Arts Centre Victoria, 29 June – 8 July, and the Royal Opera House, Covent Garden, 2–5 August.