One of the most interesting things about Scottish Ballet’s changing double bill …is the way it subtly changes the atmosphere of the show as a whole, re-contextualising the first piece, iWitness
There’s a clean, healthy lightness that runs through TaikaBox’s meditation on the limits of the body
Vishneva as Cinderella has an endearing ability to share her happiness with the audience and casts a warm glow over the entire production.
“This is how ecstasy is danced.” Kimin Kim in Concerto DSCH.
Viktoria Tereshkina has a warm personality and this enhances her dancing. She has long thin limbs and offers expansive port de bras, while her legs whip up effortlessly but with control.
…this show’s greatest sleight of hand is to have constructed a truly professional, West End-worthy production from the performances of young, amateur dancers, under the age of 19.
Overall, while an interesting night for them and those who know them, it wasn’t a night that would garner them lots of new fans all hailing them as magnificent. For that you still need to catch them, if you can, doing their fireworks in the likes of Don Quixote…
As he has shown again and again, the choreographer Mark Morris has a way with Baroque music. He clearly adores it…
Xander Parish, making his British debut at Saturday’s matinee, proved that he has been transformed into a true Mariinsky prince. His achievement is a reproach to the Royal Ballet, who failed to value him as a danseur noble.
…, the first-night Juliet, Diana Vishneva, brought her understanding of MacMillan’s ballet …to Lavrovsky’s older version.
We don’t give stars but this is a 4- or even 5-star show… Classy work indeed.
If there’s one thing you can say for Yuri Grigorovich’s 1968 ballet Spartacus, it’s that it gets its point across loud and clear.
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.