The Financial Times
And it does not cheat on incidents both vital and beautiful: the crucial hunting scene that opens Act II with its court dances and farandole is admirably done, very elegant in its black costumes that intriguingly suggest a court in mourning. Everywhere the ideal proportions of Petipa’s structure (Beauty is perfectly organised theatrical engineering) are respected. This ENB version, for all its need to cut a few artistic corners with excisions to the score, is handsome.
Wednesday night also provided the fascinating – not to mention ravishing – spectacle of ENB’s new dancer-director leading from the front. Having taken the post only months ago, Tamara Rojo seemed to be delivering a masterclass to her troupe, as well as a kind of mission statement to the audience. And what a glorious Aurora she makes.
Rojo can do quadruple pirouettes, so she does, even if the orchestra has to wait while she finishes spinning. She holds long balances in the Rose Adagio, but looks at the audience rather than at her partners. Her best moments come in the last act, where she phrases her final solo with more lightness and variety.
She also lacks connection with Vadim Muntagirov, ENB’s young star.....