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Mme. Hermine

Sunday, August 17

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Laura Thompson reviews the Mariinsky Ballet in London in Cinderella:


The Mariinsky season at the Royal Opera House, in the main a triumph of gorgeousness, came to an end with Cinderella. The 2002 ballet was choreographed for the company by Alexei Ratmansky, to the glorious Prokofiev score used by Frederick Ashton in 1948. Today Ratmansky, formerly artistic director of the Bolshoi, is a ballet-maker of the highest repute. No less a figure than Mikhail Baryshnikov has said that “Russia never had anyone better”. As well as a creator of fine new works, Ratmansky has a remarkable gift for revitalising classics, notably with his Nutcracker for American Ballet Theatre.

Nevertheless, this Cinderella, which also seeks to inject shots of modernity into an old story, is very much the work of a choreographer still finding his way.

A related review from Zoe Anderson for the Independent:


The Mariinsky Ballet’s London season opened with a dated Romeo and Juliet; it closes with a Cinderella that tries too hard to be modern. The constant is ballerina Diana Vishneva, radiant in both.

Cinderella was created by Alexei Ratmansky, one of the most gifted choreographers working today. In modernising the story, he has some bright ideas and a lot of clutter.

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