★★★✰✰ Carlos Acosta, ten months in to his directorship of BRB, has provided it with a mixed bunch of shoots for a fresh start. Their first flowering may have been cut short by the closure of theatres but the company has already shown its resilience, and will do so again...
Tag - Royal Ballet Sinfonia
★★★★✰ In spite of all the problems with performing a proscenium arch ballet in an arena setting with a purpose-built stage, it is no less magical than any other production and in some ways, it works advantageously.
★★★★✰ ...exemplary performances from Momoko Hirata as Giselle and César Morales as Albrecht make for a richly rewarding and moving experience.
★★★★✰ It’s been a treat to see so much new work made specifically for a company. The dancers are free, unburdened by the weight of history and expectation, with no comparisons to be made to famous past performers or interpretations. It’s all theirs.
★★★★✰ A gleaming triptych of imaginative and remarkably demanding choreography. The production is textured in every aspect, plumbing deep wells of emotion and revelling in a multiplicity of tones, tempers and movement styles.
★★★★✰ Osipova is lethally orgasmic... Never has MacMilllan's choreography for the death duet seemed so astounding as in her account of it.
★★★★✰ It was a fine team performance from the company but particular honours go to Momoko Hirata’s Juliet who let us know what she was thinking and feeling at every moment.
★★✰✰✰ Bintley’s ‘Still Life’ at the Penguin Café saves a dispiriting evening by providing nimble demi-character dancing with a timely message, first delivered nearly 20 years ago.
★★★★✰ It was a well-balanced programme, featuring different kinds of discipline for future corps de ballet dancers, and honouring veteran choreographers as well as contemporary ones.
Opening night cast of Celine Gittens and Tyrone Singleton reviewed + some thoughts on Delia Mathews and Brandon Lawrence...
Jann Parry on the award winning Peter Schaufuss "La Sylphide", not seen in the UK in decades, and Li Cunxin's Queensland Ballet who are bringing it to London this summer. Includes an interview with Cunxin...
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.
One of Bintley’s other notable commitments as Director is the rapid development of young dancers. For a graduating dance student, hungry for big roles, BRB is the company to aim for....
...it’s actually a real pleasure to watch a company just working together for the good of the ballet.
What the programme showed was that, unlike most of other ballet choreographers in Britain today, Bintley's work isn’t primarily about the pas de deux.
his diverse selection of 17 works (including musical interludes) is a gala in all but name and this one could have been sub-titled “Gems of The Royal Ballet” for all nine dancers hail from that company...
The programme included works both old and new but it was not an altogether successful mixture. The dancers looked most at home, and at their most sleek and impressive, in Faster, a work made on them this year by their Artistic Director, David Bintley, evoking the striving of competitors in the Olympics.