The finest of all narrative ballets? Stuttgart Ballet in John Cranko’s Onegin
Martí Fernández Paixà is a superb Onegin, perhaps ballet’s ultimate romantic villain. He fills the stage, even when just standing in the background
Martí Fernández Paixà is a superb Onegin, perhaps ballet’s ultimate romantic villain. He fills the stage, even when just standing in the background
“A typically varied evening of work that ranged from out-and-out classical ballet to experimental dance theatre.”
An evening that oozed warmth. Of the ten ballets and excerpts presented in this birthday celebration, Acosta appears in five.
A beautiful double bill of John Cranko’s Initials R.B.M.E. and Requiem by his great friend Kenneth MacMillan. It was an evening to savour.
The pas de deux are wonderful. They are not steamy but, typically Cranko, they are very human… balletic but without the formality
Snippets of signature works by other noted choreographers that have helped define the company, plus Montero’s own, new, Boîte-en-valise
There are changes but… there are swans. There is a lake. There is an Odette in white, and a Siegfried who falls for an Odile in black.
Absolutely and unashamedly classically-focused. Even the student choreography. The contemporary pieces were clearly classically underwritten too
An enjoyable and interesting evening with the focus on duets and the more contemporary end of the spectrum, and only one firework pas de deux.
While Sophie Martin is a commanding presence as Elizabeth, albeit someone aloof and alone… it is Bridgett Zehr as Mary who stalks every scene
Sleek, slinky and smooth, sophisticated yet playful, Stina Quagebeur’s Deviations feels like peeking in on an easy going jazz club.