Metamorphosis Titian: 2012 - Review Roundup

I was highly impressed with Metamorphosis Titian: 2012, a collaboration between the Royal Ballet and National Gallery, giving it a full five stars. This is what the critics made of it:

The Independent

Zoe Anderson in The Independent have given Dame Monica Mason's last production as Director of the Royal Ballet four stars. Anderson begins by stating that it is 'a coherent, stylish evening', continuing by commentating that Machina is the 'boldest' of all three works. The robot is described as 'big and delicate' and Acosta and Rojo's duet is called 'alert'. Anderson remarks, however, that Diana and Actaeon is 'weaker' and how the story has 'far too much repetition'.

Evening Standard

Viv Groskop in the Evening Standard, like me, has awarded Metamorphosis Titian; 2012 five stars. Machina onwards, Groskop explains, showed 'the Royal Ballet at its best'. 'Precise, sinewy movements' is how Groskop describes Watson's dancing, assessing how they 'evoked mechanical grace'. The second ballet, Tresspass, is described as 'episodic', 'haunting' and 'mesmerising', whilst also stating how Marianela Nunez's performance as Diana in the final ballet was 'majestic'.

Financial Times

Clement Crisp in the Financial Times has given the ballet under discussion four stars, commenting how the dances were 'handsome, assured and intruiging'. Machina is described as 'advenurous', the dancing in Tresspass is called 'stunning' and 'ravishing' and the final ballet's score is 'luscious' according to Crisp.

The Telegraph

Mark Monahan in The Telegraph's three star review begins by saying how the ballet is 'one of the most visually arresting dance programmes of recent years'. Diana and Actaeon is called the 'triumph of the evening', whilst differs from the other reviewers by calling Tresspass 'fussily over-the-top'. The robot in Machina is described 'ultimately distracting'.

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.