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Wednesday, July 26

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


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.


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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