The epitome of beauty, grace, and art come together in this triple bill of Balanchine’s timeless choreographies — another triumph for the Royal Ballet.
On the 28th of March, the Royal Ballet premiered ‘Balanchine: Three Signature Works’ on the Main Stage, a production celebrating the iconic choreographer George Balanchine, one of the greatest influences on both American and international 20th-century ballet. Part of the ‘Dance Reflections’ by Van Cleef and the Arpels Festival, this opening night also paid tribute to Patricia Neary, ballerina and muse of ‘Mister B’. Having started her career with Balanchine at the New York City Ballet in 1960, she went on to become a choreographer and ballet director in her own right. As the only remaining direct link to Balanchine and his visions, Neary has served as an ambassador for the Balanchine Trust and artistic director of his works for six decades. Once again, she has created a sensation for the Royal Ballet, bringing her deep understanding and passion for Balanchine’s style to this exceptional performance. Under her guidance, the company presented three of Balanchine’s most celebrated works, each one a testament to his genius and enduring legacy.
Opening the night with Serenade — the ballet that marked Balanchine’s debut in America in 1935 — the Royal Ballet unites in transcendent beauty from the very first moment. Set against a clean, sky-blue-lit backdrop, the dancers command the stage in simple yet elegant pastel-blue skirts, their movements flowing effortlessly to Tchaikovsky’s Serenade for Strings. In this piece, the corps takes centre stage, showcasing their brilliance as a collective. A play with symmetry and asymmetry in breathtaking constellations demonstrates the competence and outstanding skill throughout the company. Every movement is a visual feast, and as the dancers mould their bodies beyond the limits of grace, you can’t help but think: true beauty has been acquired tonight!
Two things separate this unique dance piece from previous classical ballets, and are found throughout all three works of the night: the impressive acrobatic aspect of the choreography, and its distinct embellishments. In this case, it is reflected through the authenticity of the original dancers’ real-life errors, which Balanchine incorporated into the final choreography. These imperfections add an original and organic quality to the piece, becoming a testament to the choreographer’s innovative spirit. The principals Lauren Cuthbertson, Mayara Magri, and Melissa Hamilton crown this piece alongside William Bracewell and Ryoichi Hirano in this visually stunning serenade.
Prodigal Son –– Balanchine’s 1929 choreography for the renowned Ballets Russes –– takes the stage after the first interval. In the New York City Ballet’s original costume and set from 1950, this avant-garde ballet retells the biblical parable of a defiant son who departs on a reckless journey where he indulges in sin and decadence –– represented by a seductive siren –– before he ultimately returns with repentance to his father. With music by Prokofiev, a timeless yet bold, inventive and somewhat provocative performance unfolds. Cesar Corrales embodies the Prodigal Son with remarkable depth, expression and vulnerability, while Natalia Osipova’s portrayal of the Siren becomes a force of nature, convincing in her seductive, manipulative and powerful presence. Together, they form a captivating dynamic, bringing the story to life with intensity and precision.
Symphony in C brings the evening to a grand close, set to Bizet’s composition of the same name. Divided into four movements, this monumental work gathers nearly the entire company with its principals in a culmination of talent and excellence. Fumi Kaneko partners with Vadim Muntagirov for the first allegro; Marianela Nuñez and Reece Clarke deliver a beautifully executed adagio; Anna Rose O’Sullivan and Daichi Ikarashi take the stage for another ‘spirited allegro’, and Leticia Dias joins Joseph Sissens for the final allegro. The performance concludes in a vibrant and exhilarating finale, underscoring the Royal Ballet’s unmatched and absolute prowess. The curtain call is met with thunderous applause, and as Neary herself steps onto the stage in a shimmering evening dress, a fur draped over her shoulders, roses rain down from the upper circles.
The evening was a stunning reflection of both Balanchine’s revolutionary approach to dance and Neary’s devotion to preserving and passing on his vision. Audiences were treated to a breathtaking display of technical brilliance, emotional depth, and timeless elegance that Balanchine’s choreography embodies, solidifying this production as a memorable and historic moment in the Royal Ballet’s season; I fear it may be some time before I witness a performance of this calibre again.
The performance will run till the 8th of April. You can find more info and purchase tickets here.