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Wednesday, July 26

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A review of the Mariinsky Ballet by Jann Parry for DanceTabs.

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This approach is evident in the vision scene in Act II, when the dazed Don dreams that he is in the Kingdom of the Naiads. After a spectacular transformation of gauzes from windmills to forest bower, he finds himself among a bevy of nymphs in pastel-hued tutus.  They dedicate themselves to dancing, ignoring him; the exception is the delightfully cute Cupid (Tamara Gimadieva, still a corps member), who introduces the Don’s idealised women: Tereshkina as Dulcinea and Ekaterina Chebykina as the Queen of the Dryads.

 

Debra Craine's review in The Times.

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Let’s be honest. Don Quixote is a silly ballet with not much of a plot to sustain it, little in the way of characterisation to validate it and a score (although jolly enough) that’s hardly likely to set an orchestra on fire. Yet there’s a reason the Russians like to open their London seasons with this 19th-century war horse — the dancing is off the charts.

 

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