The Winter's Tale (2013)

Even in abridged form, there’s a lot of plot to digest, but Wheeldon propels the action coherently, aided by Joby Talbot’s wonderful score, full of rhythmic hooks, driven along purposefully by Alondra de la Parra with bags of energy. Shakespeare’s most famous stage instruction – Exit pursued by a bear – is conjured up via Basil Twist’s ingenious billowing silk sheet. Wheeldon also adds a clever prop, an emerald necklace which Leontes gives to Hermione that, in turn, is left in the baby’s basket, the means by which Paulina – in a touching moment – recognises Perdita in Act 3. Talbot brilliantly contrasts the moody Sicilian court with the carefree Pantheistic mood of Bohemian shepherds in Act 2 where his infectious score includes an on-stage band featuring flute, accordion and cimbalom for festive dances with a distinctly Balkan feel.

It is to the credit of Christopher Wheeldon that his realisation of The Winter's Tale as a three-act spectacle for the Royal Ballet is as managed as managed as it is. And in everything he is sustained by Joby Talbot's vividly responsive score.

Winter's Tale is one of the most fully achieved story ballets to be created at the Royal in years.

What’s striking is the synthesis of dance, music and designs. Reuniting the team from his Alice in Wonderland, Wheeldon's eloquent storytelling is propelled by Joby Talbot's driving score, its rhythmic accents, perky tunes and underlying ominousness pointing us in all the right directions.

The Winter’s Tale is a triumph. It is contemporary and classical, traditional and modern, narrative and abstract. It feels like something entirely new...The score by Joby Talbot is equally rich; the variety of the orchestration and the momentum of the melodies make it both stirring and effective; in the second act a folk band arrives on stage without ever falling into cliché.

This exquisite new ballet by Christopher Wheeldon transports the Covent Garden audience to undiscovered waters and undreamed shores...Joby Talbot’s specially-commissioned new score is masterful, with sweeping classical strings for the rushing storyline and more jittery flutes and rattling percussion to coincide with Leontes’ descent into turmoil, and seething, vengeful orchestration for the more sinister moments.

With a score by Joby Talbot that flits between Hitchcockian intensity and alluring folk, Wheeldon's adaptation conveys the highs and lows of love through swooping contrasts and diverse duets.