Rambert raises the barre

10:18am Friday 14th March 2008

A triumphant first for Richmond Orchestra: a ballet with choreography and dancing by Rambert School of Ballet and Contemporary Dance students.

The startling impact of the first few bars of Arnold's Four Scottish Dances signalled that the orchestra was on good form. It relished the sounds of skirling pipes and Highland rhythms. I particularly enjoyed the drunken gait of Chris Fry's bassoon in the Pesante and the melting melody of Margot Baker's flute in the Allegretto.

While the incidental music to Peer Gynt was interpreted into ballet. The dancing melded seamlessly with the playing and each proved a treat. Etched on my mind are the moving final moments in The Death of Aase (Emilia Billitteri and Salmon Presland), and the strong and lithe Eoin MacDonncha, who both choreographed and danced In the Hall of the Mountain King.

After a rousing performance of the overture to Offenbach's Orpheus in the Underworld, there were orchestral and dance excerpts from Løvenskiold's La Sylphide - an intriguing example of early (1836) romantic ballet, well executed in both solo and ensemble.

With an infusion of young players, the orchestra showed strengths in all departments. Congratulations to Philip Hesketh, conductor and raconteur, and to leader Gill Herbert, with a special mention of Adam Philp for his programme notes.

Let's hope that, now Rambert School has moved to St Margaret's, their talent will encourage more partnerships. Perhaps, though, more could be done to the staging in Queen Charlotte Hall, as many children struggled to see the dancing.