The New York Times
Ashton stands here at the crossroads of classicism: These “Monotones” evoke Marius Petipa (“La Bayadère”), George Balanchine (“Apollo”) and Merce Cunningham. The white trio suggests the slow motion of men walking in outer space; the green piece has the mystery of Bedouin travelers in the desert.
There are many celebrated Chopin ballets; Ratmansky is taking on a tradition, and cheerfully finding his own place in it. The famous prelude from Les Sylphides becomes a grand trio, with Leanne Benjamin, Valeri Hristov and Steven McRae striking grand poses that face away from the audience, as if they were acknowledging some other public. 24 Preludes is a marvellous ballet, The Royal Ballet’s best new work in years.
The Financial Times
The fact of two creations for the Royal Ballet in a new programme is cause for cheers. That they are from two major choreographers in the classic-academic manner is cause for even more plaudits. That I find that both variously misfire in realisation is my excuse for more muted pleasure than the eager reception given on Friday night. (That they were preceded by a lacklustre account of Balanchine’s Apollo is no reason for my lack of enthusiasm.)
The Evening Standard
24 Preludes is the first ever UK commission for former Bolshoi director Ratmansky, now resident at American Ballet Theatre. Set to orchestrations of Chopin piano music, it’s like a big story ballet with the narrative removed, like a fish filleted of its bones.