Friday, August 31
Posted 31 August 2012 - 01:39 PM
Posted 31 August 2012 - 01:48 PM
Alexei Ratmansky is now a big cheese in the world of ballet, in demand all over the world as one of the few choreographers who is making work that is both classical and modern.
His version of Cinderella, made for the Mariinsky Ballet in 2002, was his first big commission – and seeing its belated British debut at the Edinburgh Festival, it is impossible not to be dazzled by the talent already on display.
While Ratmansky has given the performers ample room to convey their ability and skill, the characters don’t seem to push forward the story, rather, the set pieces happen as the backdrop and music move on.
Posted 31 August 2012 - 01:50 PM
"Many people think that ballets, especially classical ballets, can’t be linked to real life. And I think that this is wrong. I believe that all classical ballets that have survived are based on the plots that can be filled with serious content which people at all levels whose tastes vary too will be able to understand without any problem. Ratmansky’s Cinderella is a modern girl who before she turned into a princess danced in gaiters, tunic and a jacket. And we can see that she was not doing this very well. The point is that she had simply no time to practice dancing because she did dirty work at home...."
Posted 31 August 2012 - 01:53 PM
The Herald Sun
Some might call it cliched or over-wrought, balletomanes may grumble at its irreverence, but this Anna Karenina is consistently engaging and technically controlled.
Posted 01 September 2012 - 09:00 PM
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