Joan Sutherland Theatre, Sydney Opera House
May 4
Premiering in 1967 at the Lincoln Centre in New York, George Balanchine’s Jewels is, as the name suggests, a sparkling, shiny and exquisite défilé of classical ballet technique.
At the time of its premiere, Jewels was marketed as the first full-length non-narrative ballet. Its three parts follow a sensory journey of jewels as corresponding to Balanchine’s experiences in three major centres of classical ballet – the silky and subtle French Emeralds, the rambunctious and cheeky American Rubies, and the crystalline and timeless Russian diamonds.
“Balanchine has done it again,” proclaimed New York Times dance critic Clive Barnes after the ballet’s premiere, which featured household names Violette Verdy in Emeralds, Patricia McBride and Pat Neary in Rubies and Suzanne Farrell in Diamonds.
After watching the Australian Ballet’s restaging of the work, led by Artistic Director David Hallberg and the Balanchine Trust, it is easy to see why the ballet elicited immediate appreciation and continues to be a mainstay of the classical repertory.
For the AB’s opening night, the audience witnessed the crème de la crème of company talent – both seasoned and emerging. In “Emeralds”, the principal couples comprising Sharni Spencer and Callum Linnane, alongside Imogen Chapman and Maxim Zenin, offered mature and elegant interpretations of the French style. Set to the haunting classical melodies of Gabriel Faure, “Emeralds” is known for its stylistic difficulty, requiring a subtlety that can easily approach iciness. The dancers tackled this challenge well and will undoubtedly continue developing their assuredness throughout the season. Also fantastic was the pas de trois of Larissa Kiyoto-Ward, Katherine Sonnekus and Drew Hedditch, who brought exuberance to their performance of complex choreography and style. It is exciting to see Hallberg highlight these young company dancers, and their jubilant determination embodied the Balanchine essence.
Following on from the graceful Emeralds, Rubies (to music by Stravinsky) delivered a playful punch in Balanchine’s defining neoclassical style. The iconic long-legged solo was performed by company soloist Isobelle Dashwood, whose energetic and cheeky interpretation sizzled the stage and elicited multiple rounds of spontaneous applause. But it was the principal couple, Ako Kondo and Brett Chynoweth, who really exemplified Balanchine’s characteristic dynamism and zesty abandon. Kondo’s performance was perfectly cooked, blending mischievous irreverence with mature control. Chynoweth’s partnering was both sturdy and exciting, a difficult balance to strike, and he rose to meet Kondo’s fire with panache.
The final act of “Diamonds”, set to music by Tchaikovsky, had mouths agape around the theatre as the curtain lifted to reveal the sparkling vision of the corps de ballet arranged on stage, evoking the grandeur of Imperial Russia. Benedicte Bemet and Joseph Caley as the principal couple were refined and elegant beyond compare, and the corps de ballet was majestic, filling the stage with an iridescent finale imbued with Balanchine’s reverence for his homeland.
In today’s dance landscape, the Georgian-born, Russian-trained, French-acclaimed and American-famed George Balanchine is a contentious figure. For many ballerinas, the opportunity to perform in his works constitutes a career highlight. Conversely, for contemporary makers and movers, Balanchine’s strict physical demands epitomise ongoing patriarchal oppression in the classical canon. However, despite the choreographer’s understandable divisiveness, the importance of continuing to perform works like Jewels remains. For dancers and audiences, the opportunity to reinterpret and revitalise the essence of three classical ballet titans of dance history – France, America and Russia – constitutes a vital lesson in dance styles as well as a thrilling spectacle of classical opulence.
Jewels continues in Sydney until May 20, then moves to Arts Centre Melbourne from June 29 to July 8. It will also be livestreamed online from July 6 to 20.