I was very much looking forward to Dutch National Ballet’s Generation Dance because it features Rena Butler. Because she is an emerging choreography talent. Because she is a woman! And it would be for the first time for me to watch her work live. I had only seen some movie clips of her works on the Instagram.
I went to see the mixed programme at Nationale Opera & Ballet in Amsterdam on 12th September, 2024, the second show of the programme, which kicked off its 2024-2025 season.
If you see the names of the featured choreographers below, you might find Generation Dance quite commercial. I did. However, commercial works require world class dancers to make them commercial. So it is fair to say that this mixed programme pleased occasional theatre goers and hardcore ballet lovers like myself alike. I believe it is also fair to say that it was an orgy of techniques. It was a joy to watch the show off. It was also thought-provoking to see how choerographers in different generations showed off classical techniques in different and versatile styles. Furthermore, I admire their stamina.
It opened with Classical Symphony by Ted Brandsen, the artistic director of the Dutch National Ballet. It features about two dozen male dancers. He created it specifically for male dancers when the opera house was going to reopen after the covid 19 lockdown because other classical ballet exerts to be performed featured mostly female dancers. The shirtless and white tights only costume made sense to show dancers’ sculpted body and to express that the lockdown was a thing of the past. Some parts of Classical Symphony looked like a centre work in class. It might have been because of the timing of its creation. It was still mesmerising. It was so clean and tidy. I always say if you do everything properly, you become a world class dancer. This is the proof.
The second was the much anticipated Persephone by Rena Butler. It was inspired by Greek goddess Persephone and the mythology surrounding her. Balanchine’s Apollo came into my mind when I read the description in advance. But, I was glad she gave it a 21st century interpretation.
The third was Four Schumann Pieces by Hans van Manen. He created it for the Royal Ballet in London in 1975 and had Anthony Dowell dance the main role. The role, which has been danced by outstanding dancers including Rudolf Nureyev since then, was performed by Principal Jacopo Tissi very legally. It was also performed by such gorgeous dancers: Olga Smirnova-Timothy van Poucke; Elisabeth Tonev-Conor Walmsley; Arianna Maldini-Diego Altamirano; Khayla Fitzpatrick-Fabio Rinieri; and Kira Hilli-Bela Erlandson. I loved its understated elegance. But I still worry a little about two friendly elderly ladies, who sat next to me and said they were excited to see Olga Smirnova’s “Kirov techniques”. The light switched off when I was going to give them a two hour lecture. May be it did not matter.
The finale was the most commercial Blake Works I by William Forsythe. I had seen it with the English National Ballet a few years ago and I enjoyed it again! Mr Forsythe knows the sweet spot.
Most importantly, it seemed dancers were enjoying dancing throughout the show. It is nice to start the new season with a bit party on stage. Positive energy, positive vibes.
Thank you so much for the pure dance. I went home in an ecstatic mood. Thank you, Arianna!
Personal note: I noticed Victor Caixeta has disappeared from the Dutch National Ballet’s dancers page. Whatever your next move is, break your leg, Victor.
Images were taken by me with my iPhone.