Royal Opera House Live Cinema Season 2015/16: Viscera/Afternoon of a Faun/Tchaikovsky pas de deux/Carmen (2016) watch online HD

A very interesting and very well done performance, consisting of four segments (four ballets for one) with four different dancing and musical styles, four different pieces and four different choreographers. Really liked all four and none were disappointments, all had many superb elements although a couple were slightly more consistent.

The quadruple bill that shapes the production consists of Lowell Liebermann's 'Viscera' choreographed by rising star Liam Scarlett, Debussy's 'Prélude à L'Après-Midi D'un Faune' (called 'Afternoon of a Faun' in this ballet, considered one of the composer's most famous works and one can see why) choreographed by Jerome Robbins, Tchaikovsky's 'Pas De Deux' (originally intended as a part of 'Swan Lake') choreographed by George Balanchine and Bizet's 'Carmen' choreographed by Royal Ballet regular Carlos Acosta. All incentives enough to want to see the production in the first place.

Visually, the production is never flashy, elaborate or symbolism-heavy. Instead it's wisely kept simple, letting the choreography, music and dancing resonate even brighter, without looking cheap shoe-string-like or dreary. The most visually striking segment is 'Carmen', the brooding crimson of the omnipresent of the red moon backdrop had a very foreboding effect. The other standouts is the gorgeously detailed costumes for 'Pas De Deux'.

Musically, it is hard to find fault. Opera traditionalists may object to the production's scaled down and contemporary-in-arrangement treatment of 'Carmen', to me coming from a big fan of the opera it was very clever and didn't distract from the drama. The only thing that didn't quite work for me in this regard was the over-use of castanets, nice to have the Spanish flavour but it overwhelms things a little.

Orchestral playing has all the different moods of the four ballets down pat, whether it's the blood-thirsty power of 'Carmen' or the sensual intimacy of 'Afternoon of a Faun'. Emmanuel Plasson's conducting is alert and sympathetic, with a real sense of mood and what to do with the drama while letting things breathe and being accommodating to the decisions of the dancers. Martin Yates conducts 'Carmen' and gives it a lot of energy.

Have little to complain about with the choreography. Loved the mix of traditional and contemporary for 'Viscera' and with its mix of complicated choreography but simple techniques. 'Afternoon of a Faun' was sublime, it was very subtle like the piece and a lot of Debussy while evoking a lot of poignant emotion and lustful beauty, loved how personal it was as well.

'Carmen', which audiences loved but seemed to leave critics divided, was a vast majority of the time electric and had a lot of passion and intensity with a mix of the traditional and the inventive contemporary. There were times where it was perhaps a little too slick and could have done with more dynamic and grit. 'Pas De Deux' to me came off least, it is a fond reminder of the beauty of traditional ballet well choreographed and Balanchine's trademarks are all over it but it's not always the most polished when it comes to the performance, lacking 'Afternoon of a Faun's' delicacy.

Performances are top notch. Acosta himself is an impassioned Don Jose, Vadim Muntagirov is a powerful yet sensitive male lead in 'Afternoon of a Faun', Iana Salenko and Steven McRae mostly dance beautifully and Matthew Golding imposes menacingly as Fate. The dancing honours however go to a deeply touching Sarah Lamb in 'Afternoon of a Faun' and Marianela Nunez's dynamite Carmen.

In conclusion, beautiful and passionate on top of being incredibly interesting. 8/10 Bethany Cox