Tag Archives: Alina Cojocaru
Posted on 12 December 2014
The great charm of E. T. A. Hoffmann’s original story is the interplay between the real and imaginary worlds of Clara’s life, both inhabited by her beloved godfather Drosselmeyer. This production emphasises Drosselmeyer’s ambiguous role in his pursuit of a dancing butterfly in the Act II mirliton section, but the clever main idea is to …
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Posted on 10 January 2014
Britain now has its very own version of Le Corsaire, and what a wonderful romp it is. To the original score by Adolphe Adam, composer of Giselle, producers have almost always interpolated additional material by Pugni, Drigo et al, and what ENB have given us is a pot pourri of glorious music, excitingly played under …
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Posted on 24 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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Posted on 22 December 2012
A triple bill ending with the third act of Raymonda is a fine complement to Nutcracker for the Christmas/ New Year period. Raymonda has a wonderful finale with stunning costumes, and the sets drew audience applause when the curtain opened. With fifteen soloists including the principals, Zenaida Yanowsky and Nehemiah Kish on this occasion, it is …
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Posted on 4 July 2012
A second view, with a different cast — see my opening night review for more details. As before, Tom Seligman conducted Birthday Offering with Barry Wordsworth taking the other two ballets, and things got off to a fine start as Seligman produced swelling sounds from the orchestra to Glazunov’s Concert Waltz No. 1. Later the music interleaves excerpts …
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Posted on 22 May 2012
Ballo Della Regina (The Queen’s Ball) is a short Balanchine work set to music that was cut from Verdi’s opera Don Carlo. This ballet involves a sequence of variations, first with twelve girls in blue, joined by two principals in white. After a pas-de-deux for the principals, four soloists in violet come on one at a time, and …
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Posted on 6 April 2012
This was an entirely twenty-first century triple bill. The first work, Christopher Wheeldon’s Polyphonia, set to ten piano pieces by Ligeti, was first shown in New York at the start of the century, January 2001. The large Covent Garden stage gave space to the spare minimalism of Wheeldon’s choreography, with darkness sometimes surrounding a spot for the dancers. …
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Posted on 23 September 2011
All in all this is a wonderful evening’s entertainment with glorious choreography and dancing aided by delightful sets and costumes, and the House was deservedly full.
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Posted on 17 March 2011
Why were there empty seats? This is a wonderful Triple Bill, and the Royal Ballet gave a glorious performance, yet on the Grand Tier four boxes in a row were empty. All paid for no doubt, but unused for some of the finest dancing the Company can produce. The evening started with Rhapsody to Rachmaninov’s well-known Rhapsody …
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Posted on 1 October 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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Posted on 19 March 2010
McRae danced with precision and snap, and being still such a young member of the company he fitted the part perfectly.
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Posted on 20 February 2010
The second item, Rushes — Fragments of a Lost Story, by Kim Brandstrup is a beautiful description of a relationship between a man and two women.
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Posted on 9 June 2009
… the ensemble work of the other dancers was superb, and this was altogether a terrific evening with a simply wonderful cast.
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