The Australian Ballet presents three short recent ballets which would seem at the surface to have nothing in common. In At the Edge of Night, first performed in 1997, but last performed 11 years ago, Stephen Baynes sets an impressionist ballet to seven preludes by Rachmaninov. The choreography, set design and costumes share the sensibility of the music, rolling subtly between nostalgia, longing, pining, contemplation, mild remorse, occasionally melancholy, ambivalence, poignant joy and other emotions only the piano can give a name. The brand new ballet, Halcyon by Tim Harbour, sets the Greek myth of Halcyon and Ceyx to dance with original music by Gerard Brophy. It is a particularly relevant myth about love oppressed by religion. The last ballet is Molto Vivace again by Stephen Baynes, first performed in 2003, but completely different in tone. It sets a light-hearted rococo comedy to Handel. All three are liminal, either touching, delving or diving into where phases change. We meet frontiers either as precise as the sea's surface, or as blurred as half conscious memories, or as completely black and mysterious as that between life and death and the other.
My immediate reaction to Michael Miller's commentary on the Karajan centenary [Oh no! He’s not back again, is he? - May 2, 2008] was rather choleric, but I've settled down a bit since then and can write this from a relatively balanced perspective.