★★★★✰ Marianela Nunez and Vadim Muntagirov's account of Swan Lake is spellbinding... if Scarlett's revision of the 1895 scenario makes even less sense than the original.
Tag - Ivanov
★★★★✰ The dancing is so enjoyable, the comedy so appealing, that any flaws in the story telling are easily overlooked.
★★★✰✰ A 3 star production with 4 star performances...
★★★✰✰ But, at least to my eye, the production’s triumph is its final lakeside act. There, the formations of swans, as originally choreographed by Lev Ivanov, become intricate, delicate, lyrical, and intensely moving.
★★★★✰ Tiler Peck, with her quick feet and sassy musicality, is perfectly suited to the role of Swanhilda. Her choreography has copious amounts of pointework, quick steps, requires adroitness in petit allegro and excellent mime technique – all of which Peck has in abundance.
★★★✰✰ The Siberian company performs its Fille mal gardée with good heart and neat feet.
★★★✰✰ Sophie Martin's Odette/Odille, despite the costume, steals the show with layers of dramatic nuance on top of the pushed lines of Dawson's steps.
Opening night cast of Celine Gittens and Tyrone Singleton reviewed + some thoughts on Delia Mathews and Brandon Lawrence...
Martins' Swan Lake tries to be too many things to too many people.
If you really think about it, Swan Lake is, for lack of a better phrase, an odd duck...
The formula for the success of the Mariinsky’s Swan Lake is simple. The love story between a beautiful young woman turned into a swan and a prince is told in a direct, traditional manner. There is no symbolism or hidden meaning here, no exaggeration or melodrama.
The previous night had been dominated by Gillian Murphy’s performance. She is an absolute powerhouse in this role, a kind of super-stylized, inhuman creature, an art-deco distillation of speed and daring.
The revitalizing impact of Balanchine’s choreography on Tchaikovsky’s music was particularly evident in the all-Tchaikovsky, all-Balanchine program presented by New York City Ballet at the Kennedy Center Opera House during the last week of March.
There were revelations on-screen, too. ...How many first-time spectators spot that the Biedermeyer-period Christmas cake in the Act 1 party provides the marzipan-and-icing set for Act II?
He knows he can’t surpass Petipa (or Ivanov for 'Swan Lake') – but he can tweak their scenarios into something uniquely his own. And he’s magnificently served by a cast of just 17, capable of switching roles at the twitch of a fairy’s wing.
How can a company make good impression with just a few performances of one or two programs? The pieces have to be representative, interesting, and show the company in a the best possible light. It’s not easy, as the recent Lincoln Center performances of Australian Ballet have shown.