There seemed a freshness to the interpretation tonight, which was enticing and even electrifying. The choreography in this latest 2021 production by Peter Wright really is a fabulous depiction of the score, and for a ballet which is essentially a series of unrelated dances, it possessed a strong narrative and sense of drama, exquisitely enhanced by the immaculate and detailed orchestral accompaniment. With many changes to the cast, the performance really was a wonderful showcase for the depth of talent within both the Royal Ballet company and the Orchestra of the Royal Opera House. In this performance, the roles of The Sugar Plum Fairy and The Prince were danced by Mayara Magri and Ryoichi Hirano both performed with great skill and emotion.
A photo of Drosselmeyer in the fabulous turquoise cape from the 2015 ROH production The generous use of glitter as a metaphor for the magic needed to rid the Nutcracker of the wicked spell cast by the wicked Queen, helped bring the story alive for the younger members of the audience, of whom there were many. The wonderfully lavish set, punctuated by particularly beautiful teal velvet capes and an immense golden owl resting watchfully atop a plinth under an equally elaborate clock, set the scene and did not disappoint. The stage of the Royal Opera House as seen from our seats in the balcony
Who would have thought that researching and attending a performance of The Nutcracker at The Royal Opera House as a Christmas present for my eldest daughter would reveal the deep and lasting connections in the ballet world between UK and the Netherlands.Īfter a forced closure over Christmas and the New Year, the Royal Ballet’s latest production of Tchaikovsky’s Nutcracker at The Royal Opera House as seen on Wednesday January 5 th was a fantastic spectacle, brushing away all Covid-induced thoughts and inviting the audience to enter Hoffman’s magical world of Drosselmeyer, Clara, the Nutcracker, the Sugar Plum Fairy and her Prince, dancing mice and Christmas trees which grow in the night.
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