Brighton Year-Round 2024
Sleeping Beauty
Raymond Gubbay
Genre: Ballet, Live Music, Theatre
Venue: Theatre Royal, Brighton
Festival: Brighton Year-Round
Low Down
Raymond Gubbay has brought Bulgaria’s Varna International Ballet for three days to perform all Tchaikowsky’s three ballets at the Theatre Royal Brighton, conducted by Peter Tuleshkov. It’s a feast I wish I could have attended entire.
This is really the only way to see ballet anywhere outside the largest cities. It’s traditional and no-one not even the young people tonight, mind that in the least. If you care for ballet and you’re not in Covent Garden every month, see this.
Raymond Gubbay has brought Bulgaria’s Varna International Ballet conducted by Peter Tuleshkov to perform all three Tchaikowsky ballets.
Till February 21st
Review
Raymond Gubbay has brought Bulgaria’s Varna International Ballet for three days to perform all Tchaikowsky’s three ballets at the Theatre Royal Brighton, conducted by Peter Tuleshkov. It’s a feast I wish I could have attended entire. Last night it was Nutcracker, tomorrow Swan Lake, but today his very last one, Sleeping Beauty which followed on from Nutcracker.
Like Ellen Kent’s opera company, this kind of touring is jealously rubbished by the mainstream artworld, which (for obvious reasons) hasn’t found it in itself able to fund more than outreach programmes and skeletal educational projects. Highly commendable dedicated work: but the kind of sheer graft and world-class artistry that eastern Europe and Ukraine for instance bring, is found in such touring companies. Carp all you like, it keeps them employed. And we’re the richer.
And what artistry. This ballet has the advantage of not being so obviously number-led as its predecessor and returns to the sweep of Swan Lake. Some rate it his finest ballet. It hasn’t got so many great tunes as either and Act One is extremely pretty without being musically first-rate Tchaikowsky.
That comes in Act Two and some moments of Act Three, where the last half as choreographed here by Marius Petipa, Sergey Bobrov and Bakhytzhan Smagulov looks like the longest curtain-call in ballet. The music doesn’t so much end on an arrival but an emphasis on almost apocalyptic bass brass.
The orchestra conducted by Tuleshkov drives hard, after a slightly raw start. Indeed at some points it’s as if some violins have been switched on somewhere, but the power of strings and woodwind as well as – once – a piano, are quick to settle into a strong pit-band with the kind of full-blooded red wine feel you get in one of those underrated Merlots from the same region. A moment of Act III has a violin and harp glissandi played in a bewitching duet.
The sets and costumes by Dmitry Tcherbadzhi are mostly superlative. Sumptuous shimmering and full of light and shade, the costumes flit in front of a set of crisp video projections and pillars salted with violet or turquoise lighting (Denislav Grigorov). Wigs furnish the only awkward topping on a handsome production.
Dancing is both exquisite and consummately traditional: so many technical terms for the twizzles and corkscrews of male dancers able to lift whilst on point and radiantly drilled to the spot. It’s mesmerising. Inevitably it might feel a little samey but I was transfixed by the unflagging musicianship of the dancers themselves.
The King and Queen (Sam Darwell and Giulia Visali) have the most unromantic job, often sitting stock-still while either calamity or obsequies are being laid at their feet. Most of course it’s Princess Aurora (Martina Prefetto) who’s laid out cold at their feet before they all collapse in sleep.
That’s the swervy magic of Lilac Fairy who in averting death has to confer sleep (Mara Salvaggio who alternates with Aurora) who combats Evil Fairy Carabosse (Mirko Andreutti), a male role and self-delighting in black and yellow waspish-waisted devilry.
Luc Burns takes two self-mocking roles, full of primp and point: Chamberlain and Prince Desiré’s Tutor. Prince Desiré’s Vittorio Scolé alternates with Carabosse’s Andreutti. On any night, it could be any of these pairings and many soloists alternate. The result’s recognizably the same. It’s impossible to tell their artistry apart, but these leads radiate a certain energy and extra shot of adrenalin.
Aurora and Desiré – and other duettists – are exquisite: at once liquid Dresden china, then at a flip like a flash of fireworks through their blazing attire.
The choreography’s quite dated and leaves some gaping holes in dramatic tension: the prince and princess meet with that kiss earlyish on in Act III and beyond that we’re treated to a smorgasbord of solos.
More seasoned ballet critics than I will point out where these have been tightened or can seem so at say Covent Garden: but we have here a spectacle and world-class dancing, just perhaps a little lacking in that final drive the orchestra seem to find.
There’s some delightful cameos: Monica Allegre’s Fairy Violente in iridescent blues, Loisaeu Moche Andrea Confortti’s Canary-yellow fairy are two and Fleur de Farine Yael Delgardo Canzobre. Konsta Julius Aukusi and Wellson Felipo de Santos as well as Pauline Faget seem to arrive in a gallimaufry of roles.
Agnese di Dio Masa (she also plays Flocon de Neige and a Maid of Honour) is notable, paired with Puss-in-Boots, Matthias Andreu-Gluck. They’re like taking an acid trip when you’re looking at a couple of white cats.
And don’t even get started with Carabosse’s minions: they apparate with heads out of Dr Who’s Meeps or Munchkins suddenly grown with magic mushrooms or more likely toadstools.
This is really the only way to see ballet anywhere outside the largest cities. It’s traditional and no-one not even the young people tonight, mind that in the least. If you care for ballet and you’re not in Covent Garden every month, see this.
