The Firebird / A Month in the Country / Symphony in C, Royal Ballet, review: a Russian-tinted evening of infinite variety

Yasmine Naghdi as The Firebird
Yasmine Naghdi as The Firebird Credit: Alastair Muir /amx

The Royal Ballet is wrapping its summer season with a bill of works by three all-time-great choreographers. These creations all date from the 20th century, and there’s also a Russian thread of sorts for those who like that sort of thing, but the overall impression is not of uniformity, but of infinite variety.

The evening opens with a piece that’s Slavic to the tips of its anti-hero’s stiletto-like fingers. It was with The Firebird that the Ballets Russes opened their 1910 Paris season, and, impossible as it is to see it through the eyes of a startled Palais Garnier-goer of a century ago, it remains a strange and scintillating piece of work. An unprecedented narrative and choreographic fusion...

To continue reading this article

Start a 30-day free trial for unlimited access to Premium articles

  • Unlimited access to Premium articles 
  • Subscriber-only events and experiences
  • Cancel any time

Free for 30 days

then only £2 per week

Save 25% with an annual subscription

Just £75 per year


Register for free and access one Premium article per week

Only subscribers have unlimited access to Premium articles.
Register for free to continue reading this article
Or unlock all Premium articles.
Free for 30 days, then just £1 per week