Sophie, a flighty young model, learns that her boyfriend is planning to leave her for another woman. Sophie resolves to either win him back or assassinate her rival. A handsome doctor (who happens to be falling for Sophie himself) assists her with the former plan so that she won't have to resort to the latter.
Cover-girl en renom, Sophie rêve d'une autre existence que celle toute extérieure qu'elle mène en compagnie de Philippe, un des photographes en vogue, très mondain et remuant. Cependant elle tient à son amant et lorsqu'elle découvre qu'il s'intéresse à Barbara, une richissime Américaine, elle enrage de jalousie au point de songer au crime passionnel, et se venge de l'infidèle en s'affichant avec des garçons de rencontre : Claude et Alain. Un matin, elle dérobe la carabine de Philippe et semble résolue à tirer sur ce dernier et sur Barbara…
Jeanne lives in Paris and believes she is the reincarnation of Don Juan. She visits a priest and tells him she has killed a man. He comes to her elegant flat - her father has died leaving her rich - and she tells the priest stories about men she has seduced. The seduction is easy, she tells him, it's destruction that takes planning. We watch her with an upright elected official, a wealthy boor, and a folk singer. She describes herself as a spider. Her friend Léporella tries to be Jeanne's conscience. What does Jeanne want?
Although he is fondly remembered for his many exemplary film scores composed during the Second World War, Korngold's more "serious" concerto works – particularly those written after the war – are becoming increasingly well-respected and widely performed. Chief among those works gaining tremendous popularity is his violin concerto. Hints of the sweep and grandeur of the film genre can still be heard in the concerto, but never to the point where Korngold's music sounds trite or unpolished. Rather, Korngold casts the violin in a decidedly Romantic style while still managing to include snippets of previous film scores, making for an easily accessible listening experience. Contrasting sharply with Korngold's increasing popularity is Lithuanian composer Balys Dvarionas.
Set in the exotic surroundings of the Ottoman Empire and with a narrative encompassing abduction, murder and shipwreck, Le Corsaire is a swashbuckling pirate drama that delights for its spectacular nature and which includes some of the most bravura male dancing in the ballet repertoire. The work’s evolution has been a complex one, its libretto and choreography subject to numerous revisions since its first appearance in Paris in 1856, and in this English National Ballet production – the first British staging of the work – former-ballerina-turned-choreographer Anna-Marie Holmes adapts the 1974 Petipa-Sergeyev Kirov version to create ‘brisk, stylish entertainment’ (Guardian) that is visually enhanced by Hollywood designer Bob Ringwood’s ‘superb’ (Daily Telegraph) Orientalist sets and costumes. First-rate dancing by the company and its soloists – including Alina Cojocaru’s ‘radiant performance’ as Medora (Independent), Yonah Acosta’s ‘vividly drawn and villainous’ Birbanto (Financial Times) and Vadim Muntagirov’s ‘compelling’ (Daily Telegraph) portrayal of Conrad – underscores the ‘roaring, madcap success’ (Financial Times) of this production.