Frederick Ashton's triple-bill astonishes and fullfils (Royal Opera House, 22.04.2022)

Scène de ballet, A Month in the Country and Rhapsody - what a remarkable program of three very different ballets: each of them unique and each of them creating very distinct atmosphere and mood, and all of them choreographed by Sir Frederick Ashton, the Royal Ballet's former director and founder choreographer.

Scène de ballet: although created in 1947 (inspired by Stravinsky music), it is a very modern (and ahead of its time) piece, which remains permanently in the Royal Ballet's repertory. Though the music is very difficult and urges dancers to a constant counting (as Christopher Carr - the ballet's guest répétiteur) explains in the recent Insight to this performance, the piece is a choreographic masterpiece. It is a visual celebration of shapes and patterns which are created by sharp moves, sometimes different for each performers, all reflecting and respecting Stravinsky's music. It's also a pleasure for the eyes - the beautifully-designed, very graphic, pastel-coloured costumes are complemented by effective lightning.

A Month in the Country: very contrasting to the first ballet in every sense. This lyrical storytelling was inspired by Turgenev's play of the same name and choreographed on the music of F. Chopin. Though very stylish and aesthetically pleasing (set in the 19th century in Russia's countryside), it is very emotional and dramatic as it reflects a hidden passion of a married woman towards a younger tutor (with whom the married woman's ward fell in love). Again, the costumes, scene and lightning were beautifully designed and helped to create the right atmosphere.

Rhapsody: those, who are familiar with S. Rachmaninov's Rhapsody on a theme of Paganini know, that this piece is a masterpiece itself and can only be played by a very accomplished pianist, because it is composed as a piano concerto. So, you can imagine, that the "dancing part" of it would not be any different. It is a virtuoso piece for dancers, too and demands a very technically-skilled, experienced dancers with a good stamina to sustain the whole piece with the same energy. The costumes and the scene-set play their part in an overall mood, but it is entirely up to dancers, orchestra and piano-soloist to perform it to their best. The overall quick tempo (with some slower lyrical passages in the middle), demands a quick foot-works from female dancers, complicated series of jumps from male dancers (especially from the solo-dancer) as well as a very active listening to the music to keep up with the demanding rhythm.

With all three pieces, this ballet program seems very accomplished and fulfilling. It offers a variety of music, variety of choreographies (from abstract to narrative to a virtuoso piece) and it certainly represents the Royal Ballet at its best.