It’s not a perfect show by any means, but come the end you still love Acosta, his spirit and his smile. He remains a potent name, doing potent things for ballet, like filling the ROH…
…the real star of Don Quixote is the Bolshoi itself.
It would be invidious to compare Wendy Whelan’s brave attempt to reinvent herself as a contemporary dancer with Sylvie Guillem’s far more mature achievement.
Great to see so many of San Francisco Ballet’s dancers enjoying themselves and enthusing their audience in a steamy summer evening in Paris.
Audience applause during the evening recognised that Scarlett’s Hummingbird was the starry centrepiece of the three Paris premieres.
Overall I thought this was another move forward for Tindall – he can grab our attention theatrically and also provide visceral choreographic texture.
It is even more disappointing that the troupe should open its run with a Swan Lake so lackluster… It’s not the dancers’ fault. At every level, the Bolshoi dancers move with thrilling force and fullness.
…I think it’s safe to say that she is an artist who follows her obsessions with a tenacity that is both admirable and frequently defeating.
Les Saisons Russes / Natalia Sats Opera & Ballet – Petrushka, Chopiniana, Polovtsian Dances – London
The triumph of the triple bill was the rip-roaring account of the Polovtsian Dances, with the choir exulting from boxes at the side of the Coliseum stage.
I feel that I now know what an end-of-pier seaside special looks like in Brazil.
Watching Rosas danst Rosas this weekend it was easy to understand why it still stands as a prime example of De Keersmaeker’s choreographic approach.
Only the official retirement age of 42 requires him to leave the company, alas, though he may be invited back as a guest.
It’s a really demanding work, and the intimate setting of the Purcell Room brings you up close to every drop of sweat.
Reich’s score is, of course, a constant pulse. De Keersmaeker provides no rest for the senses. She matches Reich in density and motion. It is mimicry of the highest order.
…it’s very Russian in its mixture of comedy, satire and luscious spectacle – and first-class performances.
This glitzy evening proved that the Central School of Ballet has friends in abundance (or perhaps that should be hyphenated to “a-bun-dance”) but the aim of this gala event was clearly to encourage a few more.
The three dancers who took their leave this week – Sascha Radetsky, Yuriko Kajiya and Jared Matthews – are all soloists. Each led a different cast of the company’s 1997 production of Coppélia.
If there’s a linking rationale between the sequences, other than one of physical contrasts, it’s not evident. Lecavalier cannot fail to be riveting because of her compelling presence, as androgynous as David Bowie, as vulnerable as Wendy Houstoun…
If you are keen on seeing new work, this is an attractive package of five varied pieces which is very well presented.