Debussy orch. Colin Matthews
Brouillards; Feuilles mortes; Le vent dans la plaine; Canope; Les tierces alternees; Des pas sur la neige; Les sons et les parfums
5, 19, 21, 29, 30 May 2009, Royal Opera House, Covent Garden, London: chor. Alastair Marriott/The Royal Ballet/Orchestra of the Royal Opera House/Barry Wordsworth
Press comments
‘…As for Sensorium, the world premiere, the Diaghilev link is in Marriott’s choice of music, piano preludes by Debussy, a composer who worked with the Ballets Russes. The Preludes, in this swirling orchestration by Colin Matthews, are incredibly lush and vibrant. Marriott picks up on the images of wind and mist suggested by Debussy and contrasts the impressionistic abstraction of the choreography’s rippling movement with the intense romantic connections in two key duets. The ensemble (there are 14 dancers in all) is lovingly shaped; it’s a clean and elegant work.
Rupert Pennefather (dancing with Alexandra Ansanelli) showed how far his partnering skills have come, while Leanne Benjamin and Thomas Whitehead clung to each other magnificently. Adam Wiltshire’s stunning set, whose soaring lines suggest a massive hull, is gorgeously lit in changing hues by John B. Read.’
The Times (Debra Crane), 6 May 2009
‘…Set to seven of Debussy’s preludes, the link to the Ballets Russes being the music from the same era as the two surrounding ballets and by a composer who worked with the company, Sensorium is a classical abstract piece centred around two couples - Rupert Pennefather and Alexandra Ansanelli and Leanne Benjamin and Thomas Whitehead.
The choreography takes the lead from the vigorous score, which varies between rich, mellow and luxuriant.
Dancers move like gymnasts in sherbet yellow and green leotards, with a strong stuck in the mud stance framing the two main couples, or kneeling, knees apart on the floor. Their linear angles and sliding floor work make way for the high arabesques, planched lifts and wide straddling acrobatics of the two main couples. They tangle themselves into complex groupings, and swing one another around the stage like ice skaters gliding on a rink. The end duet between Benjamin and Whitehead is particularly memorable for its combination of swooping and arcing stunts and tender intimacy.
Sensorium is a fitting and triumphant contemporary celebration of the work of a company who had such a far-reaching effect on ballet as we know it today.’
The Stage (Katie Columbus), 6 May 2009
‘…Sensorium actually comes with its own strong framework. It's danced to seven Debussy piano preludes, five in lush orchestrations by Colin Matthews. Barry Wordsworth conducts sumptuously. Adam Wiltshire's designs are spacious and atmospheric, dominated by a slatted rectangular shape that curves like a sail. John B Read's lighting glows with aquatic blues and greens, turning golden at the end.’
The Independent (Zoë Anderson), 14 May 2009
…An abstract workout for two couples plus corps, Sensorium is set, like Faune, to Debussy – here, seven of his Preludes, colourfully orchestrated by Colin Matthews. And, in its dreamy lighting and rippling figures for the ensemble, it often attractively fleshes out the French composer’s lyrical impressionism…’
The Telegraph (Mark Monahan), 7 May 2009
'Its finest feature is the music: seven Debussy Preludes, orchestrated — stylishly, varying between sparseness and lushness — by Colin Matthews.'
The New York Times (Alastair MacLaulay), 10 May 2009
Forthcoming performances on 19, 21, 29 & 30 May. For more information and booking check the Royal Opera House website. Click here
