Set in the exotic surroundings of the Ottoman Empire and with a narrative encompassing abduction, murder and shipwreck, Le Corsaire is a swashbuckling pirate drama that delights for its spectacular nature and which includes some of the most bravura male dancing in the ballet repertoire. The work’s evolution has been a complex one, its libretto and choreography subject to numerous revisions since its first appearance in Paris in 1856, and in this English National Ballet production – the first British staging of the work – former-ballerina-turned-choreographer Anna-Marie Holmes adapts the 1974 Petipa-Sergeyev Kirov version to create ‘brisk, stylish entertainment’ (Guardian) that is visually enhanced by Hollywood designer Bob Ringwood’s ‘superb’ (Daily Telegraph) Orientalist sets and costumes. First-rate dancing by the company and its soloists – including Alina Cojocaru’s ‘radiant performance’ as Medora (Independent), Yonah Acosta’s ‘vividly drawn and villainous’ Birbanto (Financial Times) and Vadim Muntagirov’s ‘compelling’ (Daily Telegraph) portrayal of Conrad – underscores the ‘roaring, madcap success’ (Financial Times) of this production.
Premiered by the Opera De Paris in 1870, and inspired by the fantastical writings of E.T.A. Hoffmann, Coppélia tells the story of a young man who becomes besotted with an exquisite automaton and is finally brought to his senses by his fiancée. In their production from the magnificent Palais Garnier, choreographer Patrice Bart in his final production and designer Ezio Toffolutti explore the story's darker side while doing full justice to the exuberance and elegance of Delibes’ glorious score.
Christopher Wheeldon's acclaimed new Cinderella for the Dutch National Ballet is an imaginative interpretation of a much loved classic. Inspired by the original Brothers Grimm fairy tale, Wheeldon gives the characters renewed depth and complexity, complementing Prokofiev's celebrated and colourful score. With sets and costumes by the renowned designer Julian Crouch, supported by stunning stage effects, this world premiere production is a truly magical experience, bringing an age-old fairy tale into the 21st century.
Un spectacle inoubliable autour de trois ballets de Stravinsky, avec notamment Le sacre du printemps dans la version originale de Nijinski.
A Russian folk tale in two scenes. Serge de Diaghilev heard Stravinsky for the first time on 6 February 1909, the day when his Fantastic Scherzo and Fireworks were created. Diaghilev was extremely impressed by this last work. Since his Ballets Russes had already performed for a season in Paris in 1909 and were a great success, he wished to repeat the experience the following year and include a brand new work inspired by the legend of the Firebird.