★★★★★ What we are fortunate to be able to witness in these constrained times is an intimate record of otherwise fleeting performances by exceptional artists.
Tag - Nicholas Georgiadis
Kenneth MacMillan's Mayerling in new Jürgen Rose designs - "I am not reviewing the recording so much as commenting on the differences between Stuttgart Ballet's 2019 production and the Royal Ballet's version that dates back to the ballet's premiere in 1978..."
★★★★✰ ...undoubtedly one of the most visually stunning and dramatically meaningful Beauties you will ever find.
★★★★✰ Sarah Lamb and Vadim Muntagirov, as Des Grieux, are not new to the roles and their understanding of the characters and the choreography has deepened with experience.
★★★★★ As someone who cries easily, it’s a wonder that Manon remains a favorite ballet of mine... Misty Copeland and Cory Stearns were passionate and persuasive in their respective roles as Manon and Des Grieux.
★★★✰✰ Somehow, still at the start of the run, the production seems sanitised, nicely 'English' in spite of Nicholas Georgiadis's imposing Italian Renaissance sets and costumes. Different casts yet to come might bring fresh discoveries...
★★★★✰ Nicoletta Manni’s performances in Don Quixote and Giselle on the last three days of Teatro alla Scala ballet company’s season in Australia was extraordinary, not just for her stamina and resilience, but her acting skills.
★★★★✰ The partnership in Mayerling between Morera and Bonelli is a fine example of how experience can illumine the nuances of a dramatic ballet.
★★★★✰ It's a better Sleeping Beauty than the Royal Ballet's, but it benefits enormously from a stellar performance at its heart, a reminder of how civilised ballet can be.
★★★★✰ All credit to Viviana Durante (supported by Royal Ballet, Ballet Black and Scottish Ballet dancers) for contributing to the 25th anniversary of Kenneth MacMillan's death with recreations of his early work.
Viviana Durante on her company and its showcasing of early Kenneth MacMillan works at London's Barbican on 18 — 21 Apr 2018. Bruce Marriott talks to one of the foremost MacMillan interpreters about her MacMillan celebration showcasing 3 very rarely seen works.
★★★★✰ Steeped in the company’s history, this Sleeping Beauty is a real treasure – a lavishly-outfitted and deeply absorbing spectacle which bears the indelible imprint of its creator, the legendary Russian dancer Rudolf Nureyev.
This is a Beauty like no other – the most spectacular classical production in the National Ballet’s repertory and a true jewel of a ballet.
The million-dollar question for any dancer on the cusp is this: can they carry an evening-length story ballet? The answer, on the evidence of Copeland’s début in Romeo and Juliet, is yes.
The advantage of a big company accustomed to performing narrative ballets (something we can take for granted with the Royal Ballet) is that it is able to portray a whole society on stage.
Only the official retirement age of 42 requires him to leave the company, alas, though he may be invited back as a guest.
The triumph of the Nureyev collection at CNCS Moulins is to make the many facets of his profligately talented, maddening personality so vividly alive still.
And I’ll close with more praise of Maina Gielgud. I’ve never seen a ballet she’s set that hasn’t been absolutely first-rate. Boston Ballet has performed her Giselle for many years now and it’s easily my favorite Giselle, just as this production is now my favorite Don Quixote.
They were at last in tune with each other in the bedroom pas de deux, both despairing at his departure. Hamilton came into her own as an actress in her cumulative rage at her parents’ lack of understanding; her resentment at being forced to be Paris’s puppet was compelling. She’d changed from a helpless child to an inwardly defiant young woman...