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Royal Ballet in Boston


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I thought people flooded in to DC in part because it was an Ashton week and there are few, if any, chances to see any Ashton, much less some of his finest pieces beautifully delivered. Another Swan Lake, even with the Royal, might not pull people up the road...

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I'm a little self-conscious about offering my not expert opinion...but I had a great time at the Wang Center this afternoon seeing Swan Lake! I must admit I've seen Swan Lake a few times and initially wished that they were bringing something more unique to Boston--but I was won over. Act I was jubilant--all those peasants waltzing and polonaise-ing around made me happy. The sets were intricate and sumptuous--that inner curtain thing (sorry for the not technical term)--was magnificent! The corps moved as one--it's such an important part of this ballet and it was lovely. There was a lot going on choreographically--but I didn't feel it was distracting--or that I was missing anything. I thought the longer tatty swan maidens costumes were very swan like and fluffy.

The very best part was that the audience (probably close to a full house--and the Wang is huge) was enraptured. With the current chaos at the Boston Ballet it was wonderful to see evidence that there is an enthusiastic audience in Boston hungry for good dance. I left thoroughly entertained--and moved--as did everyone else it seemed!

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I saw the same performance danced by Yenaida Yanowsky and Jonathan Cope. I really enjoyed it. I think many in the audience were aware of her being the sister of Yuri Yanowsky and were extra welcoming. She however would have pleased them none the less as she was very elegant, technically strong, and has a lovely presence. Jonathan Cope was also an attentive partner and danced with a clean, tasteful approach. The production design is undoubtably controversial but I found it fun, exuberent, and danced with lots of commitment. The orchestra also seemed very passionate. A good portion of the musicians normally play in the Boston Ballet Orchestra but they seemed to have an extra something.I also love Boston Ballet's production so I'm not going to compare. I'll just say they each are very enjoyable!

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What about Rojo's quadruple fouetté that Kisselgoff reported on today. Can anyone confirm it?

I was at the June 16 final U.S. performance of the Royal's "Swan Lake". I can't confirm there was a quadruple fouette with absolute confidence, but it sure seemed like it to me! I thought I saw one at the end of an amazing string of several triples. Rojo's performance in these was definitely "astounding", and wonderful to behold. I don't think this came off so much as another pushing of the envelope in technique so much as an example of passionate expression of ballet's bravado element. It fit smoothly into the performance for most I would venture to guess. The applause was immediate and sustained.

I agree just about 100% with everything Kisselgoff said in her review. The performances of Rojo and Acosta were spectacular!!!, artistically and technically. The corps was MAGNIFICENT !!!

This was again a different Swan Lake than I have seen previously. I liked the Russian setting. My reaction to the sets and "unconventional decor" was initially somewhat confused. At first I looked with disappointment for the lake and swans (to me that was a very positive aspect of opening scene in the NBoC "Swan Lake"), then, as the performance progressed, I felt that the Art Nouveau decor enhanced the interpretation.

This was a wonderful "Swan Lake" in my opinion, and I couldn't imagine better performances for the principals or the corps dancers. It was my all time favorite portrayal based on the several "Swan Lake" performances I've seen live.

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I agree with Paul W. I saw the 6191 eve.

performance of the Royal Ballet's Swan Lake.

The company looked in great shape. Rojo and

Acosta.......you had to be there to see them!

Rojo was doing 4 turns on her foutees! Acosta

is at the same time a powerful and elegant

dancer. They are a great duo! I wish we could get them to N.Y.C.!!!!!!!!!!!

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A note on Tamara Rojo.

I have been watching Rojo since she was with ENB (English National Ballet), she has to be seen to be believed. Her technical skills, though excellent, are never visible (at least when I have seen her), she lives her dance, the steps are merely her way of expression. She is no longer a 'showy' dancer (I say 'no longer' as Tamara herself has stated that she has leaned this way in the past), her movements are never an effort, she is her character and is not a slave to the audience. She is an actress and an artist.

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