Movie spotlight
The ROH Live: The Dream / Symphonic Variations / Marguerite and Armand
The Dream: Frederick Ashton’s delightful interpretation of Shakespeare’s A Midsummer Night’s Dream is a classic of The Royal Ballet’s repertory. Symphonic Variations: Ashton was inspired to create a ballet on the four seasons – but as he began to choreograph he refined and purified until the ballet shook off its original meaning, emerging as an abstract celebration of movement and physicality. Marguerite and Armand: Marguerite, a Parisian courtesan, lies on her deathbed. She recalls her tragic love affair with Armand in a series of feverish flashbacks.
Insights
Plot Summary
This Royal Opera House production presents three distinct ballets. 'The Dream' by Frederick Ashton is a whimsical, pastoral piece inspired by Shakespeare's 'A Midsummer Night's Dream.' 'Symphonic Variations,' also by Ashton, is a pure dance work showcasing virtuosic technique and neoclassical style. Finally, 'Marguerite and Armand,' choreographed by Frederick Ashton to music by Francis Poulenc, is a passionate and dramatic pas de deux about doomed lovers.
Critical Reception
The performance was generally lauded for its exceptional dancers and the revival of these significant Ashton ballets. Critics highlighted the technical brilliance and emotional depth displayed by the principal performers, particularly Osipova and Muntagirov, and praised the enduring quality of Ashton's choreography. The production was seen as a fitting tribute to Ashton's legacy.
What Reviewers Say
Praise for the technical prowess and emotional range of the lead dancers.
Appreciation for the revival of Frederick Ashton's important choreographic works.
The production is seen as a strong representation of classical ballet artistry.
Google audience: Information regarding specific Google user reviews for this ballet performance film is not readily available.
Fun Fact
Frederick Ashton choreographed 'The Dream' in 1964 for The Royal Ballet, using Mendelssohn's music from 'A Midsummer Night's Dream,' but he only used specific movements from the composer's score, creating a unique soundscape for his ballet.
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