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.
. . . 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.