A review of the Mariinsky Ballet at the Kennedy Center by Alastair Macaulay in The New York Times.
Just as exceptional is the supremely refined look of the Mariinsky performers. These St. Petersburg dancers seem a race apart from ordinary humanity: more erect, more stretched, more exquisitely cultivated. They are their most enchantingly lively in the national dances in the palace ballroom, all in heeled shoes (Spanish, Neapolitan, Hungarian, Polish); every twist of head and shoulder, every heel click has panache, wit, charm.
Sarah Kaufman's review in The Washington Post.
How could he resist Somova’s Odette? Captive to a magician’s spell, she unspooled a magic of her own. Somova is known — and derided, by some — for her extreme flexibility more than her artistry, but it’s time for a reassessment. First of all, she is blessedly free of affectation: no Gothic dramatics, no face-pulling. Secondly, this whisper-thin, leggy creature who looks like a child has upper-balcony star quality. There is something fascinating and watchable about her, the way Joan Crawford was not a classic beauty but she made you focus on her every move, every minute.