Giannandrea Poesio

The lack of great dance-makers that characterises contemporary dance has prompted a number of reconstructions of long-lost ballets, often with questionable results. It is utterly refreshing, therefore, to see how Frederick Ashton could evoke the past without getting entangled in an artistically sterile quest for authenticity. Few people in the history of ballet had his deep understanding of past styles, practices and atmospheres. And few people in the world could evoke all that through their individual choreographic idiom, as he did, without having to reconstruct anything. Sylvia is Frederick Ashton’s quintessential tribute to late 19th-century French ballet.

Foot stamping is a common feature of many forms of dance. This is not surprising because it provides immediate rhythmical accompaniment to the dance, while being integral to the dance action. Inspired by what many consider as the most natural and first man-made rhythm-making in the world, illustrious choreographers have often drawn upon this primeval idea for their artistic creations. Footfalls, therefore, have often been extrapolated from their traditionally non-theatrical contexts and imported into ballets such as those by Maurice Béjart and Jiri Kylian, or into more radical theatre-dance works, such as Maguy Marin’s memorable May B (1981).

I wish ballet companies due to visit London in the next few months could bring programmes that are as richly varied and neatly constructed as those presented by San Francisco Ballet last week. Artistic eclecticism as well as the ability to respond to a diversity of stylistic and technical demands are two of its most noticeable qualities. This 69-strong company, under the 20-year directorship of Helgi Thomasson, has matured into one of the best companies today. I do not recall the last time I saw such an impeccable rendition of George Balanchine’s The Four Temperaments, the crowning glory of the second programme.