Two debuts, two promotions and Cranko’s fine Swan Lake with Stuttgart Ballet
“Freely adapted from traditional versions.” Fine performances from Gabriel Figueredo and Mizuki Amemiya, both promoted at the end of the evening
“Freely adapted from traditional versions.” Fine performances from Gabriel Figueredo and Mizuki Amemiya, both promoted at the end of the evening
Mackenzie Brown and Henrik Erikson delivered in spades. Brown’s Juliet seemed to surf the waves of emotion that were flooding through her body
It may be abstract in the sense of being non-narrative… but Dawson’s choreography and the company’s dancing reached inside and touched the soul
With all ticket proceeds from which go to the charity, this year’s edition of established favourites and new work was a festive feast of fine dance
The highlight of the evening was Vittoria Girelli’s Sospesi, an effective visualisation of ideas and coming together of music and movement
A look at ‘John Cranko: Tanzvisionär’ a new book of interviews with people associated with Cranko; and the 2nd edition of Ashley Killar’s biography
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 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
By Edward Clug, with sets and costumes by the acclaimed Jürgen Rose. And it’s the 85-year-old Rose’s designs that stick most in the memory
Boosted by visitors from Vienna State Ballet and Stuttgart Ballet, an evening of dance and music of amazing quality and variety