Anna Karenina

Anna Karenina is a shining jewel in David Hallberg’s first season as Artistic Director of The Australian Ballet, presented in partnership with the Chicago-based Joffrey Ballet. This reviewer/former dancer is very excited about the future for our national ballet company with such a distinguished visionary at the helm. 

It is a marked privilege to attend a filled-to-capacity Festival Theatre in Adelaide when parts of our country, and of course the world, are struggling with the spread of Covid 19.  Halberg addressed the crowd initially, making clear his appreciation for the entire team of creatives involved, including the Adelaide Symphony Orchestra, guest conductor Nicolette Fraillon (Musical Director of The Australian Ballet) and Mezzo-Soprano Juel Riggall.  This was also an Australian premiere of the work due, once again, to the effects of the aforementioned pandemic thwarting the Melbourne season; it was first produced in Chicago in 2019.

Reflecting the epic scale of Tolstoy’s novel, this production offers a mesmerizing blend of choreography, projection, exquisite set and costume design and brilliant performances.  Principal Artist Robyn Hendricks’ portrayal of Anna was transcendent, both in technique and artistry, and was ably matched by Callum Linnane (Senior Artist) as Vronsky. Their duet in the sensual love scene brought to mind the elevated drama of Roland Petit’s Carmen. It is not often balletic choreography reaches such heights of emotion and suggestion, bringing appreciative gasps from the audience.

Brett Chynoweth (Principal Artist) is a danseur you simply cannot look away from, with artistry, and astonishing technique, he brought Tolstoy’s complex Konstantin Levin character to life. Similarly, Benedicte Bemet (Principal Artist) is perfect as Kitty Shcherbatskaya. Her grace, technique and characterisation are perfection. David Halberg has stated that he has worked pointedly with the dancers to hone dramatic portrayals in the six months since his appointment, and it shows.

Alexey Karenin was danced by Principal Artist Adam Bull with depth, noble presence and skill. Another Principal Artist, Amy Harris, also shines as both Countess Nordston and Betsy Tverskaya with her flawless technique and performance artistry.

It was also a pleasure to see the entire ensemble working with precision and excellence. In the past, The Australian Ballet corps has not always been consistent or inspiring, however, in Anna Karenina they are both integral and observably reaching new levels. 

The heritage of choreographer Yuri Possokhov is clear in his crafting of this ballet. A graduate of both the Choreographic Ballet Academy in Moscow then State College of Theatrical Arts whilst performing with The Bolshoi for ten years, he is the perfect artist to decode Tolstoy’s masterpiece. His career took him to Europe and America (twelve years dancing with San Francisco Ballet) and guest roles with other international companies. While the choreography displayed a base of pure classical technique, elements of contemporary dance vernacular were also drawn upon with excellent use of levels, the dancers sometimes performing quite grounded floor work. The pas de deux and pas de trois sections, and indeed much of the partnering, were notable for inventiveness and complexity. This work is possibly a little too long, but the richness of the production makes it engaging and, it is Tolstoy after all.