Not many ballet companies convey young love as credibly as Birmingham Royal Ballet. And I am not talking about select soloists, but the company as a whole, for youth, freshness and vibrancy are its most distinctive traits. Add to that a slick sense of style, impeccable technique and co-ordination and you have the perfect ballet experience. Which is what I had last week with each of the three titles presented at the London Coliseum: Daphnis et Chloë, The Two Pigeons and Coppélia.
Created in 1961, The Two Pigeons is Frederick Ashton’s own take on one of those late 19th-century works that belong to what is commonly considered to be a period of decline in the history of French ballet. Ashton’s reading retains many features and conventions of the original work, respectfully following Messager’s lavish score.
Comments
Join the debate for just $5 for 3 months
Be part of the conversation with other Spectator readers by getting your first three months for $5.
UNLOCK ACCESS Just $5 for 3 monthsAlready a subscriber? Log in