Tag Archives: Akane Takada

Royal Ballet Mixed Bill: The Vertiginous Thrill of Exactitude/ Tarantella/ Strapless/ Symphonic Dances, ROH, Covent Garden, May 2017

The main focus of this mixed bill is its final item, Liam Scarlett’s new work to Rachmaninov’s Symphonic Dances. The abundant melody of this 1940 composition allows ideas to emerge in and around each other, skilfully expressed in Scarlett’s choreography. For the forces of nature in this music, brilliantly conducted by Koen Kessels, Scarlett and …

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Swan Lake, with Osipova and Golding, Royal Ballet, ROH, Covent Garden, February 2015

The performance on 21 February was the best I’ve seen so far in the present run, not least because Boris Gruzin in the orchestra pit gave a superb rendering of Tchaikovsky’s score. It was far better than the brash energy of the first night — given no doubt after insufficient rehearsal time, since Gruzin has …

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Onegin, with Nuñez and Soares, Royal Ballet, ROH, Covent Garden, January 2015

For John Cranko’s 1960s take on Pushkin’s verse narrative the husband and wife partnership of Marianela Nuñez and Thiago Soares is about as perfect as it gets. The tearing up of one another’s letters — a Cranko innovation absent from Pushkin, where Onegin rejects her advances in a far gentler way — was effected with cool …

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Sleeping Beauty, Choe and Golding, Royal Ballet, Covent Garden, 27 March 2014

Tonight Natalia Osipova was supposed to have made her role debut for the Company as Princess Aurora, but a day earlier she fell in rehearsals and was hospitalised. Her replacement, Yuhui Choe was the star of the evening, sensational in the Rose Adagio of Act I, looking her princes in the eye and moving with …

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Sleeping Beauty, with Choe and Hirano, and Lamb and McRae, Royal Ballet, Covent Garden, 13 March 2014

What a huge pleasure to see Yuhui Choe and Ryoichi Hirano in the main roles at the matinee. Her dancing, so full of joy, was absolutely on the music, and a better Rose Adagio one could hardly hope for. With Hirano’s noble and dashing Prince their partnership gave a beautiful expression of the story, helped …

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Sleeping Beauty, with Cuthbertson and Golding, Royal Ballet, Covent Garden, 22 February 2014

This is a brief review of the Saturday matinee on 22nd February, in which Matthew Golding made a wonderful replacement for Rupert Pennefather as the Prince. The easy grace of his entrance in Act II, followed by his solo adagio exhibited a glorious lightness of being, complemented by an air of quiet authority as he …

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Nutcracker, with Osipova and Bonelli, Royal Ballet, Covent Garden, 27 December 2013

Christmas feasting may have affected the orchestra, but certainly not the dancers in this 27th December performance. The party scene in Act I was full of joie de vivre, with Gary Avis as a magical Drosselmeyer. The élan of his conjuring tricks was matched by the liveliness of Valentino Zucchetti as his assistant, and the …

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Jewels, Royal Ballet, Covent Garden, December 2013

The high point of this first evening was the big pas-de-deux for Marianela Nuñez and Thiago Soares in Diamonds, in which she brought a fairy tale quality to this abstract yet sublimely romantic third section of Balanchine’s Jewels. The music is from Tchaikovsky’s Third Symphony, his last composition before Swan Lake, and the ballerina exhibits …

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Romeo and Juliet, with McRae and Obraztsova, Royal Ballet, Covent Garden, October 2013

For dancing and characterisation of the roles this second performance in the current run was close to perfection. Steven McRae and Evgenia Obraztsova, guest principal from the Bolshoi Ballet, took us to an ethereal world beyond technique. When we first encounter her with her nurse she charmed us with her airy grace, and her sweetness …

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Don Quixote, with McRae and Salenko, Royal Ballet, Covent Garden, October 2013

When Carlos Acosta’s new Don Quixote opened at the end of September, most critics were cautiously optimistic but only gave it three stars. Making the opening performance a Gala may have been a good idea for ticket receipts but not for the dancers, and nothing really gelled until the final scene. By contrast, last night’s …

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Onegin, with Reilly and Cojocaru, Royal Ballet, Covent Garden, January 2013

This performance on January 23 showed an interesting difference of interpretation from the previous evening with a cast led by Bonelli and Morera. In her Act III pas-de-deux with Prince Gremin, Alina Cojocaru expressed a wistful sadness as she floated almost semi-consciously across the stage, quite different from Laura Morera’s joyful serenity in the same duet. …

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The Nutcracker with Nuñez and Soares, Royal Ballet, Covent Garden, December 2012.

At the start of this Peter Wright production, we see Drosselmeyer in his workshop comparing his toy Nutcracker with a portrait on the wall of his lost nephew. Then at the very end, where some productions show Clara being put to bed by her mother, the Nutcracker prince finds his Uncle Drosselmeyer and they embrace. …

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Ballo della Regina/ Live Fire Exercise/ DGV:Danse à Grande Vitesse, Royal Ballet, Covent Garden, May 2011

This triple bill made for a rather fragmented evening, because the first two pieces took only 36 minutes between them, while the two intervals lasted half an hour each. But it was all worth it because the final item, Christopher Wheeldon’s Danse à Grande Vitesse, was wonderfully invigorating and performed with great energy. A clear stage …

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Swan Lake, with Rojo and Acosta, Royal Ballet, Covent Garden, March 2011

Tamara Rojo is the quintessential Odette/Odile … Carlos Acosta as the prince was wonderful … his deft partnering allowed her to shine

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Swan Lake, with Nuñez and Soares, Royal Ballet, Covent Garden, March 2011

Marianela Nuñez was lovely as the white swan, and seductively assured as the black swan in Act III. Thiago Soares was excellent as her lover, …

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Onegin, Royal Ballet, Covent Garden, September 2010

John Cranko’s choreography is a delight . . . creative, always appropriate to the drama, and this fine ballet is worth seeing again and again.

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Sleeping Beauty, Royal Ballet, January 2010

…the dancing was excellent, so why was it that the applause during the performance was lukewarm?

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