Reviews of Osipova and Vasiliev in "Solo for Two."
The Daily Telegraph
But it is unprecedented for two stellar ballet dancers to launch themselves into a programme of contemporary works while they are still in their twenties – and when those stars are famed for virtuosic flamboyance first exhibited with the Bolshoi and more recently with the Mikhailovsky, the shock of their choice is even greater. Yet Natalia Osipova (now with the Royal Ballet) and Ivan Vasiliev (now guesting around the world) make a compelling case for their versatility.
The Financial Times
This malign affair is devised to feature the grand gifts of these darlings of the public, and proves to be less a display of artistry than a martyrdom of their considerable powers. Here were dancers whose bravura and irresistible verve have blazed in Don Quixote , in Flames of Paris ; who have (and Osipova notably here) illuminated a western repertory with those Russian gifts of intense feeling, technical grandeur, and what seems an intuitive sympathy. And there they ill-advisedly were at the Coliseum, abusing their skills – at something less than full power – in a gimcrack assembly of unwise, crassly made, opportunistically shoddy dances, their energies used (vampire fashion) to feed the inane posturing of their choreography.
The Evening Standard
There’s something off about the tone. Too many moments where it’s hard to tell if it’s supposed to be funny or not. Sidi Larbi Cherkaoui’s Mercy starts with faux fighting and ends with Vasiliev as a sort of mystical puppet master (it’s supposed to be about compassion, but as far as I can see it’s about a woman being beaten up and manipulated). Ohad Naharin’s Passo flits between animalistic instinct, trotting, try-hard hilarity and arresting tenderness.