More reviews of "Onegin."
As for Alina Cojocaru's Tatiana, it gets better and better – making vivid every nuance of her evolution from gauche innocence, to delirious first love, to adult maturity. The final scene, in which she rejects Onegin's longed-for ardour, is as physically wrenching for us as it is for her....
The Financial TImes
This couple’s next duet, however, constitutes an imaginary sequence in which he is hers, and so exudes an emotional connection that was lacking earlier. As befitting the context, the routine includes complex movements that might only seem achievable in dreams, and yet Reilly and Cojocaru effortlessly make them a reality. In Act Two Bennet Gartside proves effective as the fifth principal, Prince Gremin, while the dancing takes on ever more imaginative dimensions as Cojocaru and Takada resort to flurries of passionate pleading in their desire to halt the approaching duel.
Cranko made this ballet for Marcia Haydee, his lustrous ballerina in Stuttgart, and for Ray Barra, his splendid first dancer, and its theme of emotion defeated yet defined was close to his heart. Onegin has inspired prodigious ballerina performances in Haydee’s wake – I remember Makarova’s transfixing farewell to the stage at the Mariinsky Theatre, sublime in the letter scene and the last duet with Onegin – and among them we must count Alina Cojocaru with Johan Kobborg, two bodies gloriously united by the same physical impulses.