The dual nature of the lead ballerina role, yearning swan-woman Odette and manipulative vamp Odile, is the deepest mystery of all. Perhaps the impossibility of reconciling these elements, of finally locating the source of Swan Lake’s power, is what keeps us hooked.
Her [Uliana Lopatkina] soft arms, graceful back and delicate feet make each pose, every attitude, both a glorious picture and a sentence in the story of her enchantment.
…this is a Swan Lake that allows the lyric sweep of Tchaikovsky’s music and the poetic nuances of the Petipa-Ivanov choreography to take centre stage.
Sometimes it is hard to discern the dance amid the acres of pageantry, spectacle, crowd scenes and milling about that seem to comprise more than 50 percent of the work. When we do get a solo or a pas de deux it is like a breath of fresh air.
He slowly stretches and torques his body while his shadow grows and multiplies behind him. It’s reminiscent of an Antony Gormley sculpture; the body reduced to pure proportions, repeated, expanded and revealed, and it’s moving in its profound simplicity.
Created on a skeleton of balance, poise and the kind of mutual trust required by trapeze artists, it suggests the intimate dialogue between a long-married couple with all the complexities and subtleties of their history. At times, it appears to be conducted under water, …
The four-part programme… gets off to an attractive start with Solo, in which Guillem, a vision in beaded white chiffon pyjamas and red Beatle wig, invokes the ghosts of her Kitri and Carmen as she dances to Carlos Montoya’s guitar.
The pair create a fluid architecture as their bodies cascade over one another’s with a haunting connection. Each phrase is intercut by blackouts, which begin with Guillem perched on Maliphant’s shoulders.
There is no shortage of surprise in the world of dance but it was especially surreal to encounter a beach during the interval of the BalletBoyz® show at the Roundhouse... Continue Reading
The juxtaposition of these two incredible performers: one a model of serene power & strength firmly rooted in the earth & the other a body of such graceful, fluid movement that she seems unbound by the no… Continue Reading
Yuri Smekalov’s domineering Tybalt; Alexander Sergeyev’s Mercutio, had bright dramatic fire, and my eye was held by the dancing of Nadezhda Batoeva as Juliet’s friend and by Vasily Tkachenko’s troubadour.
Vladimir Ponomarev’s Lord Capulet staggers through the action in full-on ham mode, every movement overwrought and unlikely. There are heavy-handed, Soviet-friendly class issues, too. Romeo and his friends flirt respectfully with hard-working tavern girls; Tybalt, being…