During the two years in which Nacho Duato has been artistic director of the Mikhailovsky, he's brought seven of his own works into its repertory. And there's no question that this sustained exposure to new choreography has added a transforming dimension to the Mikhailovsky style. Watching them in Multiplicity. Forms of Emptiness and Silence, they're almost unrecognisable from the company performing Giselle or Don Quixote. These aren't ballet dancers who've been shoehorned into an alien, contemporary aesthetic – they inhabit Duato's earthy, maverick choreography as if it had been bred as deeply in their bones as Petipa.
The Evening Standard
Spanish contemporary choreographer Duato joined the Mikhailovsky in 2011 and leaves next year but in his short tenure has produced a lot of new work. It’s very much in the school of Jirí Kylián: less classical than effortlessly classy, with ballet’s beauty minus the prissiness and pointe shoes, tasteful music, flattering lighting, long legs showing off their splits and the odd choreographic quirk. So maybe it looks a little familiar — but it also looks bloody gorgeous.
Multiplicity. Forms of Silence and Emptiness is Duato’s ambitious take on the art of Bach. The music — mainly concertos and orchestral suites in Act I, organ music and fragments of The Art of the Fugue in Act II — sounded splendid as played by the company orchestra. My problem, as with all of Duato’s dances, is I don’t necessarily want his imagery in my head as I listen to such glorious sounds.