Alina Cojocaru and Johan Kobborg have announced they will leave The Royal Ballet at the end of the 2012/13 season to pursue other artistic challenges.
Tag - Johan Kobborg
Picture above is from
Dave Morgan: Alina Cojocaru Gala – Preparations and Rehearsals – 30 pictures
These are pics of the preparations and practise runs in the afternoon before the show. Many thanks to Alina Cojocaru and Johan Kobborg for allowing us access.
An evening of artists celebrating the past present and the future, with highlights from the classical repertoire along side new or rarely seen pieces including choreography by Marius Petipa, John Neumeier, Tim Rushton, Johan Kobborg and others.
Three radically different worlds are conjured up by strongly contrasting styles of dancing, music, set and design...
Cojocaru is as great a dance-actress in the final scene as any I’ve been privileged to see – and that includes Lynn Seymour, Natalia Makarova and Ekaterina Maximova.
It's the Royal Ballet's varied and unique repertoire that has kept me loyal to the company through some very thin times as well as the golden seasons, and this programme is a nice example of what a flick through its back - catalogue can produce.
What this creative and glorious revisiting has achieved is an enrichment and revitalization of everything the work holds dear and, at the same time, a wonderful showcase for this company of 32 talented young dancers.
Here’s what the critics have been saying about the production...
Ethan Stiefel formally retired from dancing with ABT this summer, but has been hard at work as Director of RNZB for over a year now. On the eve of company announcements about their 2013 season and the premiere of Giselle, his first commissioned production, Valerie Lawson catches up with him...
Ten or so years ago, I was watching ABT soloist Gennadi Saveliev dance Lankendem, the red-pajamad slave-dealer in ABT's nicely condensed Le Corsaire, when he uncorked a step that made my jaw drop.
Balanchine famously described a choreographer's job as being like a chef's, and his Ballo della Regina perfectly fulfils the role of amuse-bouche in the Royal Ballet's latest double bill, waking us up and sharpening our appetites for the more serious fare of Bournonville's lovely La Sylphide. It's the fourth ballet the company has tried out in this role and I think it's the most successful.
Every review of La Fille mal Gardée should start with an acknowledgement that, however excellent the performance may have been, the greatest credit belongs to Frederick Ashton, who more than 50 years ago put this happy masterpiece together in a few weeks of cheerful collaboration with his dancers.
'Sweet Violets', though over-ambitious, is the best stab at a psychologically complex narrative ballet the company has commissioned for years.
Somova is going to become one of the world's greatest dancers within a very few years and it is a great honour to have been able to watch the progress of her early career.