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...
Tag - Cinderella
Wheeldon has two problems to contend with in Cinderella: Prokofiev’s prescriptive score and Ashton’s definitive choreography from 1948...
Christopher Wheeldon's production of Cinderella, in 2 casts, photographed by Dave Morgan...
Kateryna (Katja) Khaniukova, who has been dancing with English National Ballet these last 15 months, returned home to the company where she was a much loved principal dancer - Kiev Ballet. Graham Watts reports on the night and ballet in a country at war...
Two 2 casts reeviewed - led out by Stella Abrera and a guesting Marianela Nunez. But the star of Cinderella is the ballet itself – Ashton’s tribute to Petipa, to silliness, and to the power of childlike wonder...
The programme stretches and shows off the young graduates to good advantage in a well-chosen assortment.
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.
We don't give stars but if we did this would get 5. Not to be missed.
Both nights that I attended were blessed with an exquisite Cinderella. Gillian Murphy gave this production a beating heart with her tenderly expressive and incisive performance...
The gala opened with the Act III wedding pas de deux from The Sleeping Beauty, performed by Ekaterina Osmolkina and Guiseppe Picone. No fish-dives in this version – the Russians regard them as vulgar, and Osmolkina could never be vulgar.
...the Ukrainian-born soloist Anastasia Matvienko was a pliant, loose-limbed Cinderella who danced with uninhibited ease and looked perfectly at home in Ratmansky’s goofy interpretation of the character.
We catch up with Septime Webre, choreographer and artistic director of Washington Ballet. So what makes him get up in the morning? Oksana Khadarina finds out...
Christopher Wheeldon's Alice's Adventures in Wonderland is a showy affair...
Batley's Dracula is a towering presence, subtly portraying the torment between evil and desire; the seducer and the seduced.
Vishneva as Cinderella has an endearing ability to share her happiness with the audience and casts a warm glow over the entire production.
Gallery by Dave Morgan...
Few nineteenth-century story ballets are as satisfying as Giselle, with its simple and poetic plot, compact structure and starkly contrasting moods. This week I watched four Giselles, with four distinctly different casts...
To fully enjoy Ashton, one has to be willing to acquiesce to one’s own softer impulses, a sense of wonder and perhaps a little nostalgia, and to surrender the loveliness of small things.
Both as a tribute to Ashton and as a coming-out party, it’s hard to imagine how the festival could have gone better. The ballets are in good hands.
In his programme note, Bintley claims to have foregone sexual romance in favour of ‘something more mystical and subtle’, connected with Japanese veneration of its Imperial family. It doesn’t resonate in this royal kingdom.