Myer Music Bowl
February 25
Softly falling rain, a sea of umbrellas and a warm summers night in Melbourne. Nothing could keep ballet lovers away from the Australian Ballet’s first "Ballet Under the Stars" for some years. Nor could puddles onstage dampen the talents of the company. The evening featured four works that ranged from the grand classical tradition to newer offerings and was hosted by company dancer Jarryd Madden (with great showmanship) and Livinia Nixon.
The highlight of the night was the grande pas de deux from Le Corsaire, danced by Ako Kondo and Chengwu Guo and placed second in the program. It was stunning in every moment. Kondo, recently back from maternity leave, was exquisite in her precision and poise, also demonstrating her glorious technique and artistry. The audience went crazy for her 32 fouettés (including multiple doubles). Guo was breathtaking, as always, thrilling the audience with those signature moments of air-born suspension. He is also such a charismatic dancer, giving delicious flourishes and polished finish to his phrasing. He was born to dance this bravura choreography with its heart-stopping moments, including a sequence of "540s". These gravity-defying turned leaps are the province of only the most elite male dancers. These two are absolute stars.
The main program kicked off with a new commission by Lucas Jervies, The Vow. It is a neat mini-ballet whose setting is a wedding ceremony complete with various characters and caricatures based loosely on personalities in the company from the remote to recent past. By turns comic and melodramatic, it follows events on the Big Day, which are interrupted by an interloper, the ex of the bride, hoping to steal her back. It is a lively and engaging piece, danced and acted well by the cast with nicely individuated performances. Marcus Morelli stands out, as ever, for his unique and compelling movement language. He uses this to advantage to portray the sleazy, obsessed ex lover, hell bent on winning back his love. Coryphée Riley Lapham danced the bride with sweetness and well modulated emotion. The music was terrific – Grieg’s Peer Gynt – arranged for Norwegian fiddle. This gave a slightly discordant tone, warping the expected sound.
An excerpt from I New Then, by Swedish choreographer Joseph Inger and set to Van Morrison, was a nice inclusion, bringing some contemporary dance to the occasion. It featured some lovely visual moments – two dancers shadowing one another, a journey through the back streets of town, the fits and starts of the movement phrases. It was also just the right length for a general audience and had a light, playful tone.
The night culminated in an excerpt from Rudolph Nureyev’s arrangement of Don Quixote, commencing with the spirited fandango. Foot-stamping and changes of tempo, combined with an air of haughtiness, established the rhythm. From there on, it was pure classical indulgence, with bridesmaids and the central couple in their wedding scene. Benedicte Bemet danced Kitri with aplomb and great attack. The audience was treated to another feat of 32 beautifully executed fouettés. She was partnered by Joseph Caley, who made a tentative start but quickly transformed into an elegant Basilio. His jetes en manege were gorgeous as were his pirouettes a la seconde and saut de basques.
Orchestra Victoria was in fabulous form under new ballet conductor Jonathon Lo. As well as accompanying the dance, it also played the overture from Swan Lake and Danzon No. 2 – a fabulous piece by Mexican composer, Arturo Marquez. Lo has a very articulate and quite balletic conducting style and made a great first impression.
A children’s ballet, Pomi and Gobba, choreographed by Wiradjuri dancer and artist Ella Havelka, was danced earlier in the night. There were two "welcome to country" ceremonies, one featuring the Djirri Djirri dancers. Company barre was conducted onstage, followed by the signing of autographs, with queues of fans lining up. All of this free of charge, under the stars.
– SUSAN BENDALL