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.

Polyphonia/Sweet Violets/Carbon Life - Review Roundup

Bill Cooper - Royal Opera House

When I saw this new mixed programme on opening night I wasn't overwhelmed, nor was I dissapointed. It stood somewhere is the middle of the two. This is what the critics made of it:

The Telegraph
Sarah Crompton in The Telegraph gave the programme a generous four stars and stated that she thought Carbon Life was 'a blast', though she wasn't 'entirely sure that the piece...will have that long a shelf life' - something which I agree with and wrote about in my review. Crompton continues by saying that 'it looks lovely' and that 'the whole thing has visceral energy'. However, she was 'less keen of Gareth Pugh's angular costumes'. 'It feels like a young man's ballet, but the talent shown within in it is seriously mature' is how Crompton concludes her review of Sweet Violets - coming to the conclusion that it is 'Polyphonia which provides the most thoughtful and refined treat of the evening'.   

The Independent
Zoë Anderson in The Independent gave a less complimentary review of the programme, giving it an overall rating of three stars. 'Busy' is how she describes Wayne McGregor's Carbon Life - Anderson also states that the 'music and dancing both get repetitive', yet the 'gorgeous beginning' is 'shamelessly pretty'. Sweet Violets is decribed as being a 'mess of bad and good ideas', but also compliments the 'superb cast', which I found was 'perfect'. Like Sarah Crompton in The Telegraph, Anderson calls Polyphonia 'sleek and just right' - a sign that they found the two new works inferior to the opening of the programme.  

The Guardian
Judith Mackrell in The Guardian has given the Royal Ballet's new mixed programme an average three stars. Like the other reviewers, Mackrell found that it was Polyphonia which 'takes the honours' as its 'scrupulous, passionate cast, exposes the excess baggage' the two new works hold. Talking of Liam Scarlett's Sweet Violets, Mackrell states that it 'could be a seriously fine ballet' if it weren't for 'too many characters' and 'too much back story'. When it comes to Wayne McGregor's new work Carbon Life, Mackrell believes that it 'lacks the eerie internal beauty' of his 'best work', though also pointing out that it 'rocks, exactly as it was meant to'.

Financial Times
Clement Crisp in the Financial Times has awarded this programme two stars, beginning by saying that 'Polyphonia came to the rescue of an otherwise disappointing programme'. Crisp states that Liam Scarlett's Sweet Violets is 'emotionally clogged' and a 'long-winded event'. Carbon Life, a new work by McGregor, is stated to have 'superb lighting', yet 'the innate classicism of his [McGregor's] dancers and the tics of his mannerisms...distorts...the qualities of his cast'.  

The rest of the reviews are not out yet and I will add them when appropriate.

Polyphonia/Sweet Violets/Carbon Life - Royal Opera House

Christopher Wheeldon's Polyphonia

Before coming to see this new mixed programme from the Royal Ballet, I had little knowledge of Polyphonia yet knew quite a bit, surprisingly, of Liam Scarlett's new ballet Sweet Violets and Wayne McGregor's new piece Carbon Life. Of course, they were the ballets everyone was waiting for, but did they live up to the hype they created?
First up was Christopher Wheeldon's Polyphonia, an abstract piece set to György Ligeti's sharp and jumpy music. As much as I enjoyed this refined and visually beautiful piece, it's quick wit and soft touch made in lose focus for me. Many of the sequences were haunting and emotionally taught, but when the odd humorous gesture was thrown in for good measure it lost some clarity of the direction it was heading in, and how it wanted its audience to view it. Despite this, I did enjoy this quick and lyrical work which no doubt will remain in the Royal Ballet's repetoire for many years.
Carbon Life, on the other hand, will most probably not stay in their repertoire. I say this not because it is bad, but that to create the full effects it would need the original performers and band. Carbon Life is the new ballet by the Royal Ballet's choreographer is residence Wayne McGregor - it combines dance, music and visual aesthetics to create a show which is maybe trying to be a bit too clever. Split into segments, this ballet charts the cycle of life and love. The opening of this new work shows the dancers naked as embryos - their bodies flowing in pools of gold light - and it ends with them in Gareth Pugh's multi-angled black hats, tutus and gloves. As cutting edge as this new work was, some of the segments were messy and badly calculated, whilst others were tight which created a polarisation in the piece.
The inclusion of live music from Mark Ronson, Boy George, Alison Mosshart and many others provided the audience with some great and memorable tracks. The problem, though, with this very direct musical approach was that it was distracting as I found myself focusing of Mosshart's fiery red hair instead of some of the duets between the dancers - which was taking a backseat? Sadly, I would have to say the dancers who came across as backing dancers throughout. I did love the individual components of this performance, but something just didn't fit; it was missing a gel which, if present, would have made Carbon Life a highly successful and breathtaking work of epic proportions.
Liam Scarlett's Sweet Violets, a new work taking inspiration from Sickert's paintings of the Camden murder, is full to the brim of sex and violence - making this work a passionate and enthralling piece of dance. Steven McRae, Alina Cojocaru, Laura Morera, Tamara Rojo and Thiago Soares make for a perfect, principal, first cast of this chilling tale set in a world of prostitution, political corruption and bribery. The set, like the action holds a few surprises and the atmospheric lighting adds another dimension to the best work in the mixed programme.      

Playing at the Royal Opera House until Monday, April 23rd.