Ondine excels in the delicacy and exquisite prettiness characteristic of Frederick Ashton, who choreographed it in 1958. It was met with little enthusiasm by its early audiences, even though it was created specifically to showcase the talents of Margot Fonteyn. The score by Hans Werner Hanze was a sticking point, felt to show “little understanding of the needs of classical dancing". I felt it added depth to a ballet which might otherwise be felt as superlatively light.
This production by the Royal Ballet, using the orginal, whimsical set and costume designs of Lila de Nobili, is an enchanting revival, and unlike the luke-warm spectators of the fifties, I was thoroughly captivated. The ballet conjures a dreamy, elusive oceanic world. Miyako Yoshida as Ondine is breathtakingly fleet, light and precise. Together she and the dashing Edward Watson (as Prince Palemon) perfectly capture the capricious mood of this piece in their duets. There could be no more fantastic fluidity to a dance. Brilliant choreographic formations for the corps evoke the waves that surround the couple. On board the ship simple arabesques swaying from side to side establish the undulations of the wave-tossed vessel. Lila de Nobili’s costumes are gauzy, floaty and dazzling, and after the muted, drab tones of costumes in recent Royal Ballet productions, such as Manon, and Dido and Aneas (the collaboration with the Royal Opera), it was wonderful to be treated to the sensual indulgence of gorgeous garments.
I saw this performance broadcast at the Phoenix Picturehouse, Oxford, as it was screened live to cinemas across the country. Initially nervous at being at the mercy of the cameraman, I found to my pleasure that this was actually an excellent way to view a production. I missed no details, only the unique atmosphere of being in the physical presence of the dancers and the live music. Projecting dance onto a big screen is a wonderful idea, and in some ways the magnified image enhanced the thrill.
No comments:
Post a Comment