Hans Werner Henze (one of the great composers of the more "modernist" side) wrote a beautiful, dramatic, romantic three act ballet in his youth to Frederick Ashton's choreography for Margot Fonteyn to dance--Ondine. Henze and Ashton worked closely, going as far as to work the "script" to the very minute each section should take. Henze watched the Sadler's Wells company dance and rehearse many times and studied how music supported their style of dancing. All this intense work paid off: Ondine was a triumph for Henze and Fonteyn and it had been in the repertoire of the soon renamed Royal Ballet since it's premiere in 1958. It has been presented by them (and others) several times since, and now a DVD of a recent Royal Ballet production using the original sets and costumes (and, of course, dance) has appeared on the Opus Arte label.
First, the music is perhaps the most "conventional" he ever set. It is tonal in its approach, if not completely in its construction, and it soars and floats and roars and laughs and memorably invokes the sea like many other great works (Peter Grimes comes to mind.) It is beautiful, sometimes achingly so. It never seems padded or academic and each act moves from beginning to end with a sure hand for such a young composer writing his first (and only) long ballet. (He did write shorter less conventional ones.) No doubt this is Ashton's influence. Still, as music, it is a joy--not a 19th Century pastiche, but a powerful piece of its time which seems as fresh today as it must have then. To try to explain its "sound world", think of it as the offspring of Stravinsky and Prokofiev. Only the most conservative, musically ignorant listener will complain. Even for someone who does not like ballet, the music alone would be worth the price of the DVD. The Orchestra of The Royal Opera House conducted by the old hand Barry Wordsworth plays magnificently and the sound is glorious. It was recorded in DTS Digital Surround but the "mere" stereo has wonderful presence.
The ballet itself has occasionally and inexplicably come into carping, harsh criticism which I feel is unwarranted. What are these people watching...or wanting? It is a memorable showcase for a prima ballerina, and that is it's chief appeal. And what choreography for her! No wonder companies keep presenting it. But it isn't it's only appeal. The dance moves are always interesting, sometimes quite memorable, and always apt. The secondary characters all have fine dances. The divertissement from Act Three is wonderful. Tirrenio, the Lord of the Sea, has important moments and his final fury, accompanied by the corps as creatures from the water, is one of the most powerful moments of the entire work. Two weaknesses in my opinion keep it from being "perfect." The "hero" has no great defining solo, though his parts in the many duets are imaginative. And the "other woman" who causes the tragedy is a little too obviously designed for an older dancer with somewhat limited facilities. Her role is far more mime than dance and the poorer for it. These do not impair enjoyment in the piece, though they are noticeable. Still, I love Ondine. All of it. I think its detractors are fools. Harsh words, but I mean them. The glorious parts do make for a satisfying whole.
About this performance, almost all praise. Miyako Yoshida is a terrific Ondine. The very fact that she is of a different race than the other dancers reinforces the difference between the beautiful, mercurial creation of the sea and the fallible human creatures of the land. She is beyond criticism for all but those who refuse to admit any ballerinas of today can handle the great roles of the past. She conveys every mood while executing the movement impeccably. Yes, I've seen the (very cut) "movie" version with Fonteyn. She was wonderful and one-of-a-kind. She's gone. I believe she would have been overjoyed for Yoshida. Time to stop using the past to tear everybody down. Yoshida creates her own Ondine. Watch and enjoy it.
Palemon, the man fated to fall in love with Ondine, is danced with both emotion and skill by Edward Watson. His time with Yoshida seems a true collaboration. Though his role is a subsidiary one to the prima ballerina, he adds much to the excellence of the production and is never more than enjoyable to watch. Tirrenio is the very strong Ricardo Cervera. His every entrance has been designed for maximum effect. The dancer achieves just that. The performance does have a few small areas where the "parts" do not quite gel. Berta, the villain of the piece, is given a somewhat lackluster performance by Genesia Rosato. She is beautiful (as is very much Yoshida), which helps with close-ups , but she seems to be a trifle rote with some of her work. Perhaps this is why Ashton's movement for this character seems weak. Maybe another dancer would make me feel differently. Rosato is not terrible or even bad, and her occasional lack of emotional involvement isn't enough to ruin anything, but it is sometimes distracting--at least, to me. And the corps de ballet seem under-rehearsed at times, Act One in particular. They are bit too frequently (and literally) out of step with each other to completely ignore and the energy, passion that should come through doesn't always do so. But these are just fleeting moments. Mostly, they do great work. And they have great things to do. (Ashton's ideas for them are some of the most enjoyable surprises of the work.) Overall, the recording is a triumph for The Royal Ballet and its talented soloists and the work itself is a joy.
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