★★★★★ It seems appropriate that I’ve travelled to Russia to find a Cinderella interpreter of movement and spectacle to match up to the genius of Prokofiev’s music.
Tag - Mikhail Messerer
★★★★✰ On Saturday, Nov. 19, at Segerstrom Hall, Southern California audiences experienced our era’s ultimate executor of Le Corsaire’s balletic thrills, Ivan Vasiliev...
Kuligina was the perfect foil for Vasiliev’s Colin (Colas) and the pair played off one another. There could be no better role for Vasiliev...
The idea behind the triptych is to show three aspects of the company’s style: the classicism and character dance of Petipa; the technical pizzazz of mid-twentieth-century Soviet dance, the eccentricities and atmospherics of contemporary movement...
But, for the ballet to work it has to be danced with conviction and joy, and this is what the Mikhailovsky pulls off marvelously well.
Osipova’s vitality is astonishing: the minute she stepped onstage, it’s as if the whole world became a few shades brighter...
Having wowed London with three acclaimed seasons over the last six years, at last the Mikhailovsky Ballet make their American debut in NY. Lisa Snyder introduces the company and its repertoire...
...the audience was in thrall to the bucolic genius of Ashton’s production with as many curtain calls at the premiere as I can recall witnessing for a very long time.
Gallery by Dave Morgan...
"Alexei Ratmansky’s Flames of Paris is a lot like Matthew Bourne’s Swan Lake..." starts Jann Parry's review...
There is a lack of egotism to Messerer’s work that is immensely appealing, too: unlike Nureyev or Grigorovitch, he never appears to be coercing the music or the steps into fitting his idiosyncratic vision.
When the Mikhailovsky Ballet first brought this production to London in 2010, Laurencia seemed a creakily old-fashioned Soviet drambalet. Now, with Natalia Osipova and Ivan Vasiliev as the leads, it sparkles with fun, melodrama and commitment...