★★★★✰ In Marguerite and Armand the 3 casts reviewed are Zenaida Yanowsky and Roberto Bolle, Alessandra Ferri and Federico Bonelli, Natalia Osipova and Valdimir Shklyarov.
Tag - Anthony Dowell
★★★✰✰ Ethan Stiefel’s Frontier, his first significant commission, had all the right ingredients... Yet the ballet, with its space travel theme, didn’t leave much of an impression...
She found that she came back to perform with the company she left five years ago with a different approach. ‘I know more about why I love to perform...'
★★★✰✰ The ballet’s narrative interest depends on the dancer, and both performers are magnificent – different in tone and physicality, though not markedly so.
One of the leading interpreters of Kenneth MacMillan’s dramatic ballets Viviana Durante's leaving of the Royal Ballet at the height of her powers was a sad loss to London, if the gain of those who saw her perform elsewhere all around the world. Well now she's back at the Royal Opera House, this time to coach MacMillan's Anastasia, which is where Jann Parry caught up with her...
His is an insider’s account, complete with waspish comments and cameos of the famous people he encountered...
The Royal Ballet's Zenaida Yanowsky talks about her long career and also about the joys of working with Carlos Acosta - part of which is appearing with him in 'Cubania' this summer...
After the long famine, Ashton’s ballets made a welcome return this week with the company’s triple bill under the umbrella title, The Dream.
It is somewhat extraordinary that Anthony Dowell’s staging of Swan Lake is almost thirty years old, given the amount of reservations and mixed feelings it still elicits.
As The Royal Ballet prepares to celebrate Frederick Ashton with an all Ashton quad bill, two other events have also been celebrating the work of the Royal Ballet's founder choreographer...
In the Royal Ballet's last programme for this season two old favourites frame the first performances of Alastair Marriott's latest work, Connectome. It's a well-balanced evening and gives the new piece every chance to shine.
Frederick Ashton’s Cinderella is one of the great ballets of the 20th century and a triumph of his career.
Eighty years after Robert Helpmann left Australia and joined the Sadler’s Wells Ballet company, a Royal Ballet School symposium celebrated his achievements as a man of the theatre.
We are pleased to announce the appointment of Christopher Powney to the new post of Artistic Director Designate. Christopher will take up his position in April 2014.
Toba Singer talks to José Manuel Carreño: "Coming from Cuba, with the Cuban school you end up with a very strong foundation because you train so much in technique and partnering. These are two things that were very strong from the Cuban school, but on top of that, there was a lot of attention paid to the theatrical elements..."
But it was Rojo who really surprised me, with the most emotionally open performance I've ever seen from her. ...a swansong, indeed: what a way to go!
And in the next act she (Nunez) did just that, giving us one of the best Odiles I remember seeing. She looked as if bamboozling innocently trusting princes was her favourite thing in the world, the most fun she’d ever had...
Rambert provided the marvellous quote: ‘Pavlova excited in people the desire to dance where Diaghilev inspired in people a love of ballet and a love of choreography’.
The compere of the evening was Anthony Dowell, in fine voice. He spoke the narration, enacted several of the characters and gallantly danced the ‘Fred step’ from Pavlova’s 'Gavotte' with Ursula Hageli as Anna.
An important event yesterday – the Royal Opera House annual press conference – with Kevin O’Hare announcing his first season as incoming Royal Ballet Director. He takes over from Monica Mason in the summer. I found myself Tweeting before (on reading the press releases) and during the press conference – on #roh201213. Here is the stream in all its contorted Tweetiness and...