Reviews for La Sylphide double bill

  1. Royal Ballet in La Sylphide double bill at Royal Opera House

    Press Review Luke Jennings, Observer, Monday 29 January 2007Performance 15 Jan - 9 Feb 07

    ‘As the Sylphide, Cojocaru is miraculous. Exquisitely fine-drawn, her jump airy and weightless, she is the ultimate otherworld being.’ 

  2. Royal Ballet in La Sylphide double bill at Royal Opera House

    Press Review Zoe Anderson, Independent, Friday 19 January 2007Performance 15 Jan - 9 Feb 07

    ‘The sylph is one of Alina Cojocaru’s finest roles. She’s the airiest of dancers, with heartbreaking vulnerability and a sweet touch of mischief.’  

  3. Royal Ballet in La Sylphide double bill at Royal Opera House

    Press Review Sarah Crompton, Telegraph, Friday 19 January 2007Performance 15 Jan - 9 Feb 07

    ‘On Monday, Frederick Ashton’s Rhapsody, to lush Rachmaninoff, started the bill, with Carlos Acosta and Leanne Benjamin taking the roles originally created for Mikhail Baryshnikov and Lesley Collier. It was spellbinding…’ 

  4. Royal Ballet in La Sylphide double bill at Royal Opera House

    Press Review Judith Mackrell, Guardian, Friday 19 January 2007Performance 15 Jan - 9 Feb 07

    ‘Outstanding were Marianela Nunez, delivering precision perfect footwork with an outrageously impudent smile, and Steven McRae, remastering every cliche as his beats not merely flashed, but blinded in their accuracy and speed.’ 

  5. Royal Ballet in La Sylphide double bill at Royal Opera House

    Press Review Debra Craine, Times, Friday 19 January 2007Performance 15 Jan - 9 Feb 07

    ‘Steven McRae displays astonishing elevation in his jumps and outstanding precision in his footwork, while Marianela Nuñez finds excitement in every buoyant step. Kobborg’s lovely costumes complete Napoli‘s pretty picture.’  

  6. Royal Ballet in La Sylphide double bill at Royal Opera House

    Press Review Clement Crisp, Financial Times, Wednesday 17 January 2007Performance 15 Jan - 9 Feb 07

    ‘Bournonville’s La Sylphide, now returned to the Royal Opera House in Johan Kobborg’s production, is the only choreography extant to tell us something valid about ballet in the first flowering of Romanticism, and this through continuity of performance.’ 

  7. Royal Ballet in La Sylphide double bill at Royal Opera House

    Press Review Judith Mackrell, Guardian, Wednesday 17 January 2007Performance 15 Jan - 9 Feb 07

    ‘Domestic realism is something the Royal does very well, and the whole cast take admirable lead from Jose Martin’s romantic but limited Gurn and Laura Morera’s sweetly uncomprehending Effie.’  

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