The choreography looks like a steroid-fueled hybrid of Graham-based agony and the precision and fluidity of classical ballet. …nothing succeeds like excess…
It’s Valentine’s Day and I wish I could write a “love letter” review to the Hamburg Ballet. I am not being sentimental – this company is full of incredible dancers, from principals to corps de ballet…
What one does not see much of, at least at first glance, is nostalgia for the motherland. “I never had nostalgia about anything,” Baryshnikov says.
More than sculpture, the choreography reminded me of exhibitions of body-building.
The choice of programme was something of a curate’s egg – disappointingly so in view of the company’s rich repertoire – but two out of the four works were excellent and the dancing was spectacular.
Rambert… offers a mix of new commissions with rarely-seen work from their archives. Some items had much more impact than others, though not necessarily the ones you might imagine from the programme.
In format Suite en Blanc reminds me a little of Harald Lander’s Etudes, and it certainly fulfils the same purpose in providing the company with a spectacular programme-closer. ENB may be going through a difficult period but they don’t let it show on stage.
Firebird: To Williamson’s credit, the action, though baffling, never palls. He knows how to deploy a diverse cast, using an interesting vocabulary of classical ballet steps and partnering. He’s obviously fired up his dancers to commit themselves to their roles, flaunting their glitzy costumes with panache. But it’s a muddled piece, overpowered by Stravinsky’s myth-making music.
After all the fuss about Sergei Polunin abruptly leaving the Royal Ballet, guess who stole the Men in Motion show? Daniel Proietto, in the AfterLight solo Russell Maliphant made for him in 2010. Admittedly, you could read the 15-minute solo as a warning of the fate awaiting a troubled dancer deprived of the support of a company of colleagues