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Tuesday, July 9

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A review of the Royal Danish Ballet by Ivy Lin for Bachtrack.


The whole stage immediately transitions to the Napoli pas de six and Tarantella. The Napoli finale didn't have the impact it usually has for a few reasons. For one, everyone onstage was still in their original costumes, which meant the Kupiñski and Bozinoff were still in their jockey uniforms, Tobias Praetorius was still dressed in the baggy fat suit of the Napoli street singer, so the tight cohesion was lessened. Also, the Joyce is too small of a stage for the flurry allegro dancing that is the Napolifinale. Several times one saw dancers looking downwards to make sure they weren't about to bound right off-stage. There were a few standout dancers. Gundorph and Fransson transitioned seamlessly into a charming Teresina and Gennaro. Astrid Elbo was stunningly beautiful in the adagio variation, Kupiñski in the second male variation. And the Tarantella finale with its banging tambourines and super-fast, joyous dancing is a surefire crowdpleaser.


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