4 replies to this topic

[dirac]

Reviews of the Royal Ballet in "Onegin."

Telegraph

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People who are desperate to show just how seriously they take ballet are sometimes snooty about John Cranko’s Onegin, a classic case of Getting It Wrong.

Evening Standard

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On opening night, National Ballet of Canada’s Jason Reilly was parachuted in to cover for the injured Johan Kobborg as Onegin, Tatiana’s unrequited crush, and he’s an elegant dancer, in that long-legs and silken turns way, playing the urban interloper as refined, mildly condescending and increasingly unsympathetic

Independent

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Cranko’s corps de ballet dances lack character: they’re neither classical setpieces nor chances for storytelling. More attack and focus could lift these numbers, but the Royal Ballet corps move dutifully through the Russian dances and ball scenes. They’re not helped by the music, a patchwork of Tchaikovsky arranged by Kurt-Heinz Stolze.

[dirac]

Updates on Sergei Filin.

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The first one will take place on Tuesday, January 21^st, when he is going to have most damaged tissues of his face removed. In addition, doctors take their best effort to restore the man's eyesight. On Wednesday, the artist is expected to have a second surgery on his eyes.

Related.

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Mrs Hochhauser, who with her husband Victor has been bringing Russian artists to Britain for half a century, said speculation that an embittered dancer was responsible “doesn’t ring true”.

She added that she hoped Mr Filin would be well enough to join the company for the Bolshoi’s regular summer visit to the Royal Opera House which will go ahead as planned.

[dirac]

The State Ballet Theater of Russia cancels one of its Milwaukee performances.

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The Kahane show was canceled due to the cold weather, said Shank Hall owner Peter Jest. The “Cinderella” performance was canceled due to “unforeseen circumstances,” but the performance scheduled for this Friday is still occurring.

[dirac]

Orlando Ballet  presents another in its "Uncorked!" series.

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Orlando Ballet artistic director Robert Hill and his company of dancers will discuss and demonstrate critical milestones in development of technique and performance. Those who attend will witness the various stages in the "coming of age" of a dancer, until he or she encompasses Orlando Ballet's motto: "Beyond Ballet! We are a Movement."

[dirac]

More reviews of "Onegin."

The Guardian

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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....

Londonist

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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.

The Financial TImes

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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.