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It is thus possible that Balanchine decided to create a work in which the celebration of three dance eras went hand in hand with typical 19th-century meanings, the memory of which had been triggered by a visit to the New York showrooms of Van Cleef and Arpels — the sponsor of the current Royal Ballet’s production.
If read from this angle, Jewels comes across as a not so abstract tribute to three facets, or stages of love, as each of the three chosen precious stones referred to in the ballet was said to possess magical properties that favoured the path of a successful relationship. According to some old manuals of gems’ magic, emeralds attracted love, and were thus associated with the beginning of a story. This, in my view, is what is portrayed by the subdued lyricism of Emeralds, set to Fauré’s intoxicatingly decadent music. Just look at the use of gentle choreographic motifs, including simple walking, that underscore this section. It is like a series of first encounters, juxtaposed with intimate moments of reflection, a mix of doubt and contentment, typical of the moment true love is first met. On the opening night, Tamara Rojo, Leanne Benjamin, Valeri Hristov and Bennet Gartside as the leads gave a near-perfect rendition of this delicately romantic comedy of manners.
According to 19th-century literature, rubies are believed to bring sparkling joy to lovers and to enhance that kind of sexual frolicking seldom seen in ballet. Not surprisingly, the Balanchinian Rubies is a coquettish, flirtatious, hip-thrusting, funny, bopping moment, set to Stravinsky’s fizzy Capriccio for Piano and Orchestra. Carlos Acosta, Alexandra Ansanelli and Laura McCulloch highlighted with humour and panache the wiles of seduction, even though their pyrotechnic performance called for more attention to stylistic detail. Still, their display of carefree and delicately lustful joy formed a more than ideal contrasting prelude to the imposing final section.
Apart from being a girl’s best friend, diamonds have always been the stone that seals a loving union, promising faithfulness and dedication. Choreographically, the final, triumphant stage of love is depicted by a mesmerising central duet, which appeared to be even more so than usual, thanks to the supreme performance of Alina Cojocaru and noble-looking Rupert Pennefather. Their dancing lifted the quality of an already good evening to seldom seen heights, thus marking in the best possible way the end of the Royal Ballet season.
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