Metamorphosis: Titian 2012 - Royal Opera House

There are a number of reasons why Metamorphosis: Titian 2012 is so special. The first being that it is part of the London 2012 Festival and so brings together artists from across many disciplines to collaborate on one big project. The second is that it marks the end of an era for not just one, but two familiar faces at the Royal Ballet. This production marks the end of Dame Monica Mason's tenure as artistic director of the Royal Ballet, whilst also being the last production principal dancer Tamara Rojo will dance in. The ballet itself comprises of three ballets inspired by three of Titian's works which are currently on display in the National Gallery (Diana and Actaeon, The Death of Actaeon and Diana and Callisto). The three ballets are named Machina, Trespass and Diana and Actaeon. The final reason why this ballet is so spacial is that it is brilliant.

Machina, the first offering of the night, was brought to us by choreographers Wayne McGregor and Kim Brandstrup. Taking the form of a series of lyrical duets on a stark stage, this ballet resonated throughout the evening and for me, Machina is the one to see. The inclusion of an impressively large tripod playing Diana not only added spectacle but also helped define the atmosphere from the outset, creating light throughout and showing her as an omnipotent and omnipresent being. The performances from Tamara Rojo, Carlos Acosta, Edward Watson and Leanne Benjamin showed the dancers at the top of their game. Acosta and Watson danced like their lives depended on it and Rojo and Benjamin gave sensual performances, undulating around their partners. The juxtaposition of music also added another dimension. The robotic sounds from Diana beautifully contrasted with Nico Muhly's music.

The second ballet, Trespass, offered a completely different dimension to Titian's paintings than Machino. In Trespass, we were transported to a winter wonderland with a set which comprised of a cylinder standing tall in the centre of the stage which allowed, at times, light to pass through to create various effects. Although not as stunningly beautiful as the first ballet, Wheeldon presented a unique take on Titian's work which the audience clearly loved. I did, however, think that he might still be stuck in Alice in Wonderland mode as some of the scenes echoed those chaotic ones in Wonderland. As a whole, this was an accomplished piece of dance.

The third and final ballet, Diana and Actaeon, was clearly the weak link. Given the most inexperienced choreographers (Scarlett, Tuckett and Watknins) this ballet took place in the wilderness of flowing vines. Compared to the previous two ballets, this offered a much more literal take on the story of Diana and subsequently failed to ignite any passion (the costumes were also horrendous). Saying this, it did round of the evening well and again, gave a different perspective on the paintings.

I believe that we must judge Metamorphosis: Titian 2012 as a complete cross-discipline piece of work. From the great exhibition in the National Gallery to the poems written and now the ballet, this epic event offers an invaluable insight into three of the most treasured works in the art world. As a whole experience I would have to give it five stars. It is the most fitting end to Dame Monica Mason's tenure as I can think of, showcasing talent both old and young - paving the way for new practitioners, artists, dancers and choreographers.