Thank goodness it was nothing like those gloomy posters. After a short film about Nureyev, the opening ballet was Petrushka, with Fokine’s original choreography and Benois’s designs for the Ballets Russes. The score by Stravinsky is one of his most enjoyable, based on Russian folk tunes like Rite of Spring and the Firebird. The ballet is full of colour and was well danced at the matinee, although Anton Lukovkin did have the unenviable job of following film of Nureyev himself but acquitted himself well. The second ballet, Song of a Wayfarer, is a duet between the wayfarer and his destiny, a calm reflection between the two more exuberant pieces. The Mahler songs were excellently sung in German by Nicholas Lester but there were no surtitles and no libretto in the programme, just a simple description of the ballet.
The triumphant climax of the triple bill was Raymonda Act III, a glorious wedding celebration in gold and white. Going to the matinee, I did not expect the top casting but I cannot believe anyone could have surpassed the performances of Elena Glurdjidze and Dimitri Gruzdyev as the couple getting married. James Streeter and Stina Quagebeur led the company in swirling, exuberant style for the Hungarian dance. This was followed by a series of set pieces, culminating in an astonishing solo by Elena Glurdjidze which drew every ounce of sensuality from Glazunov’s music and well deserved the huge applause it received.
I’m not sure it makes sense to have a tribute to someone who is dead – a Celebration of Rudolf Nureyev might have made more sense and would certainly have fitted the ballets better. A more celebratory, less gloomy poster campaign might also have helped ensure a full house, thought it was not bad for a matinee. If I did not have other commitments, I’d certainly go again.