Atonement
Ballet by Cathy Marston
Based on the novel by Ian McEwan
Music by Laura Rossi
Performed by Ballett Zürich & Philharmonia Zürich
Conducted by Jonathan Lo at Zurich Opera House, June 14th – 22nd 2025
Cathy Marston’s ballet Atonement with a score by Laura Rossi returns to Zurich on Saturday, 14th June – June 22nd 2025 at Zurich Opera House, performed by Ballett Zürich and Philharmonia Zürich conducted by Jonathan Lo.
The poignant story follows Briony Tallis, revealed in the book as its author and now portrayed in the ballet as a celebrated choreographer, as she grapples with the haunting echoes of her past through a breathtaking dance of redemption.
Marston’s adaptation unfolds the tragic love story of Briony’s older sister, Cecilia, against the historical backdrop of 1935 England to explore the intricate layers of societal norms and the enduring impact of a single lie. Enveloped in Rossi’s evocative musical score, with dynamic choreography portraying the complexities of self-deception, the transformation of memory, and the weight of guilt, Atonement shares an emotionally charged experience with a startling twist finale that will linger in the soul.
Zurich World Premiere Interviews & Articles
Laura Rossi Interview about Atonement Music
REVIEWS
‘This first act gets under your skin. Not just because of the plot, but also because dance and music are so closely intertwined. It is ballet music, as has been the custom since the late 17th century, written especially for this production. When Briony dances across the stage, completely lost in her fantasies of the future, Laura Rossi’s music has a dark, almost threatening undertone. This close connection between music and choreography runs through the whole piece. Wonderful!’ Bernadette Reichlin, SeniorWeb
‘It was a fortunate decision by Cathy Marston to hire the English composer Laura Rossi for the ballet music. The musical tapestry for “Atonement” was woven together, so to speak: Marston and Rossi discussed the design of individual scenes in a number of Zooms between Zurich and London. The result is melodious, dynamic and colourful ballet music, molto espressivo, often with a lot of brass, played with verve by the Philharmonia Zurich under Jonathan Lo. Melodic arches swing over the base, with each of the three main characters assigned a single instrument: piano for Briony, violin for Cecilia, cello for Robbie. Leitmotifs can be heard. After the final curtain call, the audience, including author Ian McEwan himself, was enthusiastic, even giving a standing ovation.’ Marlies Strech, Tanznetz Dance & Ballet Magazine
‘The music by composer Laura Rossi is also smooth. A catchy soundtrack with rich strings and brilliant brass, freshened up by percussion and piano. Dance rhythms in the spirit of the 1930s drive forward: waltz, tango, bolero. Rossi’s music also gains ground in the second part, for example with ghostly, tinny military music.’ Andreas Klaeui, Swiss Radio & Television
‘Laura Rossi’s score is at times late-romantic, dark and brooding, at other times playful and pastoral, martially pounding in drill scenes and in the hail of bombs at Dunkirk, and characterized by chamber music delicacy in the intimate pas de deux and pas de trois and Briony’s reflective daydreams. Certain instruments are assigned to Briony, Cecilia and Robbie, and motifs of memory emerge. Overall, Laura Rossi has found a cinematic-musical language for the individual scenes, that is easy to listen to and able to capture the action succinctly. The Philharmonia Zurich under the direction of Jonathan Lo leaves nothing to be desired in terms of sparkling color in the execution of the composition.’ Kaspar Sannemann, Oper Aktuell
‘Laura Rossi’s music drives the action. It begins sweetly where there is an idyllic atmosphere and strikes where there is war. But whenever one is tempted to accuse it of mere illustration, the music cleverly escapes into other sound worlds and new colours: The violins from the orchestra pit buzz as if all the insects in the world were calling out “wrong, wrong” to the ensemble. At times one gets the impression that the Philharmonia Zurich, under the direction of Jonathan Lo, is playing along to a silent film.’ Lilo Weber, Zürich Journal
‘Marston masterfully conveys Atonement’s complex narrative through dance, and Laura Rossi’s music, performed by the Lyric Opera Orchestra, beautifully underscores the ballet’s emotional highs and lows. Marson’s choreography, combined with Rossi’s music and the ensemble’s stellar performances, results in a ballet that is a thought-provoking as it is beautiful.’ ChicagoStageandScreen
Marston’s new version of the book Atonement is one of the most exquisite dance interpretations I have ever witnessed on stage. Anyone who has read the book and seen the film, and loved both, will also love the ballet version. The ballet stands out as its own version of the story, brought to life with a fantastic musical score by Laura Rossi. The entire performance is a beautiful rendition of the book itself, but also unique. ChicagoSplashMag
Marson’s choreography, combined with Rossi’s music and the ensemble’s stellar performances, results in a ballet that is a thought-provoking as it is beautiful. Stage and Cinema
The score by Laura Rossi is perfect darkening season music for this tragic plot. The music as the curtain rises could be kicking off a murder mystery which in an abstract way this might be. The use of metallic sounds for the war was particularly powerful and I sensed this score could stand on its own as a musical performance. Scott Speck’s musical direction of the Lyric Opera Orchestra gave great range and dynamic pacing to the evening. Chicago Stage & Screen