George Balanchine’s Serenade, the manifesto of 20th-century neoclassical choreography, requires a deep understanding of both its complex stylistic nuances and its fascinatingly elusive visual metaphors. Many recent stagings have failed to meet such criteria, but not the performance I saw last week. Things did not exactly start especially well, as the opening group of ladies with raised arms lacked ‘magic’ evenness.
Giannandrea Poesio
Romeo, Juliet and Mussolini
Sadler's Wells throw lovers into the cauldron of Italian Fascism. Plus: a Royal Opera House triple bill that is only let down by a murder that drags
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