The Mariinsky Ballet is reviewed at Covent Garden:
Under the pressure of recording events, Ratmansky's dances are astute rather than truly penetrating. There is rarely the impression, which occurs so often in the book, of character being laid bare at a stroke. Only Islom Baimuradov's Karenin – a hand-wringing pharisee of judgment and self-deception – and Diana Vishneva as Anna become fully three dimensional. Vishneva's Anna, if anything, is more compelling than Tolstoy's; a transfigured, sensual saint who finds only mortification where she expected ecstasy, and in the end convinces herself that there is no difference.