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A review of the movie "Cinderella" at the Royal Opera House

A review of the movie “Cinderella” at the Royal Opera House

reconsidering. A fairy tale does not have to remain on the ground. It’s totally fine if the fairy solves the problem of an overlooked Cinderella and why not a quadruple fairy? No, why not, but why did they split into representatives of the four seasons? It’s not easy keeping up, and my little reference team and I are thinking both during recess and on the way home if this is to be interpreted as having to be Cinderella a whole year in the orphanage? Or is it the classic epic’s focus on the passage of time and the ticking of the clock towards twelve at the ball?

But the fact that Cinderella is a refugee arriving in Stockholm is a reasonable update of the saga, even though the police and the orphanage in the Swedish capital seem to have been in London for a long time. maybe this DickensThe reference is related to that Tamara Rojo She has been active in the UK for decades, first as a dancer and then as artistic director of the English National Ballet, a position she is now leaving to lead the San Francisco Ballet instead. “Cinderella” is her second choreography for Ballet All Night, and the music is too Sergei Prokofiev Written as ballet music for the epic and also retelled by Charles Perrault, with the Gåsmor stories.

It truly is like a lavishly illustrated picture book with a pop-up, foldable window and everything extra that Cinderella encounters her audience. Visually, it’s gorgeous in an animated scenography and partly projected by the costume designer Christian Lacroix And the Tobias Rylander And shimmering blasts of color for a Lacroix suit. Musically, Prokofiev takes us on great turns between aggressiveness and sadness on the one hand, and heightened euphoria on the other. However, the core of the dance choreography and dancers is not so delicately developed as everything that surrounds it. So the emphatic music of poetic Middle-earth does not find its expression in dance, which is most eloquent when Cinderella can express her strength in dance, or, in the happy ending, in love.

How is the nurturing and development of the dancers and the art of dance?

Madeline WuSure, the premiere Cinderella accommodated his role, but a more subtle and varied choreography would have given more colors and nuances. Tamara Rojo develops classical ballet and offers many interesting tours, where the angry tiptoe digging on the floor becomes the language of, for example, the evil orphanage director. The story also carries a lot of humor when it has to go away, such as when a prince chases his right foot into the little sparkling shoe he’s holding in his hand.

As a choreographer, Tamaro Rojo is the closest to a novice and why she’s the ballet director Nicolas Le Rich Choosing to allow the dancers to dance again and contain the dancers outside is not something to worry about for the future. How is the nurturing and development of the dancers and the art of dance? A large part of the ballet troupe is leaving the Royal Ballet at the end of the season. Today’s dancers may want more meaning in their work.

Cinderella has become a new classic as entertainment and eye-pleasing. The subject of refugees escapes and I find it hard to believe that someone has a Cinderella in the corner of the fireplace or cheers when all is well.


dance

Askungin

Choreography by Tamara Rojo

Music by Sergei Prokofiev

Captain Gavin Sutherland / David Björkma / Ewa Strusińska

Set design by Christian Lacroix and Tobias Rylander

Christian Lacroix costume

Light and video Tobias Rylander

Playwright Lucinda Cookson

royal ballet

Royal Court Chapel

Royal Opera

Playing time is 2 hours.


Margarita Sorenson is a critic for Expressen’s culture page.


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