The never-ending soloists — alluring gypsies, back-bending flamenco dancers, a sprightly Cupid — are reliably excellent, and the show is best in full fiesta mode, when Fadeyechev throws everything at it
Olga Smirnova, who danced Kitri on opening night, is the Bolshoi’s rising star. Tall and long-limbed, trained in the refined St Petersburg school, she’s a very elegant dancer.
In fact, no soloist put a foot wrong all evening – particularly high marks, too, for those three Dryads – while the corps were marvellously boisterous in the Act I town square, lyricism itself in the Act II vision scene, and always acting as a single organism.
Particularly fine in the secondary roles are Vera Borisenkova, mysterious and haughty in the Spanish Dance, and Anna Antropova, lusciously musical and melodramatic in the Gypsy Dance.
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. . . his composure is pricked by Cinderella (Leanne Stojmenov), the subtle softness of her dancing marking her out against the quirky moves of everyone else.
Having shed her Bernadette-like gear for a sparkly dress, Leanne Stojmenov reveals a thrilling and understated technique in her solos and the pas de deux.
Still, if Cinderella’s solos often carry on a little too long, they are, in the main, undeniably attractive and emotionally communicative pieces of neoclassical choreography, and Leanne Stojmenov performs them very prettily indeed.
In a busy production, Cinderella herself can seem a wallflower, but Ratmansky makes her an original, resilient heroine.
The wafting arms and silky precision of the corps de ballet is one of work’s significant features, along with the principals who colour their technique with expressive character.
Adam Bull is more capable than charismatic as Siegfried, but Amber Scott is a lyrical and very touching Odette, and Dimity Azoury makes an interesting journey as the Baroness
De Keersmaeker’s choreography – slow sways, shuffles, swinging turns, pounding runs – is calculatedly unshowy, and a lot less interesting than the music.
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