|Venue name:||London Coliseum||Contact:|
St Martin's Lane
|Transport:||Tube: Charing Cross|
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The Barber of Seville
English National Opera presents Rossini's comic masterpiece – a prequel to 'The Marriage of Figaro', it remains as tuneful, ironic and funny as ever. Set in an elegant comic-opera vision of eighteenth-century Seville, Jonathan Miller's Tiepolo-inspired...Classical and opera Until Wednesday November 11 2015Read more
The Barber of Seville
Jonathan Miller's beloved production finds all the humour in Rossini's classic comic opera, set in 18th century Seville. Christopher Allen conducts, while local barber Figaro is played by Morgan Pearse and Andrew Shore reprises his signature role as Dr...Classical and opera Until Wednesday November 11 2015Read more
Lady Macbeth of Mtsensk
Soprano and renowned singing actress Patricia Racette plays Katerina, a woman sapped by the boredom of rural life in Russia. A torrid affair leads to violence and murder. Shostakovich's opera gets a lively new staging from Dmitri Tcherniakov, and is conducted...Classical and opera Saturday October 10 2015 - Tuesday October 20 2015Read more
A brand new interpretation of Puccini's opera from Australian director Benedict Andrews. Andrews directed the recent 'A Streetcar Named Desire' starring Gillian Anderson at the Young Vic and for 'La Boheme' he will bring his sharp visual flair into action....West End Friday October 16 2015 - Saturday November 14 2015Read more
Australian enfant terrible Benedict Andrews shakes up Puccini's classic opera in a bold new staging. Poet Rodolfo meets seamstress Mimi, but they've got poverty and sickness to contend with in this tough luck love story. Will her tiny hand be frozen for...Classical and opera Friday October 16 2015 - Tuesday November 10 2015Read more
It's another 'Nutcracker' for Christmas this year from the English National Ballet who stick with their newly established tradition of reviving the ballet each yuletide. Over 100 dancers and musicians join Clara as her enchanted Nutcracker doll leads...Ballet Wednesday December 16 2015 - Sunday January 10 2016Read more
English National Opera follows up last year's starry, semi-staged production of Sondheim's 'Sweeney Todd' by affording the same treatment to Andrew Lloyd Webber's 'Sunset Boulevard'. And they've got quite the star lined up: Glenn Close will play fading...Musicals Friday April 1 2016 - Saturday May 7 2016Read more
Czech composer Janáček's heart-rending opera gets an Olivier-award winning staging from director David Alden. When Jenůfa's baby is found dead on the day of her wedding, her Eastern Bloc village demands justice. American soprano Laura Wilde plays Jenůfa,...Classical and opera Thursday June 23 2016 - Friday July 8 2016Read more
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Review of Eifman’s Ballet – “Anna Karenina”
Last Saturday, on the 19th of April 2014 I visited the London Coliseum to see a Russian Modern Ballet from St. Petersburg, “Anna Karenina”, created by Boris Eifman.
The hosting theatre – the London Coliseum, is full of that charming Art Nouveau atmosphere making much smoother this Time Passage from the Present to the 19th century tragic Russian story, created by Leo Tolstoy.
The ballet is based on the famous novel, “Anna Karenina”, and predominately concentrates on the love triangle between Anna, her conservative husband Karenin and the dashing Vronsky. It opens up in a burst of psychological energy making an indelible impression upon its viewers.
Every twisted and extremely expressive movement of Anna Karenina’s body leads the viewer from the peak of her love passion to the gradual degradation of her inner world, crushed by the same passion. Lovers’ souls and bodies are entwined in incredible harmony. The building up of their passion is expressed through the light and colors. Black, golden-grey and creamy white colors dominate the ballet’s pallet helping to communicatethe emotional mood of heroes together with the dark and the light sides of Anna’s soul.
Two beds: Anna’s marital couch and her lover’s “retreat” act as “supportive actors”, witnessing the development of the tragedy.
Anna and her husband’s acting is saturated with poses of rejection, prayers, grief, sorrows and anger. At the same time Anna and Vronsky’s bodies are entwined like branches of trees in complicated and amazingly smooth transformational poses. Lovers are in white, reminiscent of love doves. Anna’s silky night dress makes the gravity disappear under the ballerina’s feet, leaving her entirely in the power of her lover, whilst her black, mourning outfit pulls her to this “sinful” earth. Every gesture, turn or movement of the dancers is full of meaning. Their suppleness and flexibility are tested to the limit of a human body’s capability.
Condemning society, Anna’s husband, together with the male group of dancers, smeared in fuel oil and dirt represent the churning and rattling wheels of trains, , even her little son, all are dressed in black, mourning Anna’s destroyed inner world, anticipating her madness and sacrifice.
All this highly charged emotional performance is well accentuated by the minimum use of light, mostly spotlights combined with the ever moving music of Tchaikovsky.
This classical drama goes so well with the innovative, creative and very talented modern choreography of Eifman. It slowly reveals itself against the background of the romantic surroundings and the luxurious vintage interior of the London Coliseum, leaving the audience with an absolutely unforgettable experience. By Nadine Platt