Ondine
By Jann Parry for The Observer
Hans Werner Henze's sea-symphony score for Ashton's 1958 ballet Ondine is best left to the concert hall. Whenever the corps de ballet appears, the choreography is so out of sympathy with the music that you want to stop your ears. To close your eyes would mean missing ravishing Busby Berkeley groupings better suited to a Water Follies revue.
click for more
*******************************
Something to wash over me
The artists more than deliver, but the Royal Ballet’s Ondine has some serious lows, says David Dougill for The Sunday Times
Frederick Ashton’s final three-act ballet, Ondine, the latest revival in the Royal Ballet’s largely triumphant centenary celebrations of its founder choreo-grapher, is a mixed blessing. There are lovely things in it, but also dull and dated elements. The ravishing re-creation of his long-neglected previous three-acter, Sylvia, earlier this season — full of spectacle and surprises — has perhaps spoilt us and stolen the limelight from Ondine. Sylvia (1952) came up looking remarkably fresh; its 1958 successor is showing its age.
click for more