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Friday, January 21


dirac

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A review of English National Ballet by Jenny Gilbert for The Arts Desk.

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A bigger challenge to this production is the mis-match of Glazunov’s music to the new war-zone setting. Orchestral oom-pah that was composed to accompany Raymonda’s coming-of-age party, which takes up most of the original Act I, now has to serve a gathering outside a Crimean field hospital where Raymonda is tending the wounded. Before a sombre backdrop of the Black Sea swathed in cannon smoke, Raymonda’s flighty friend Henriette (a fearsome Julia Conway) tosses off round after round of giggly virtuoso steps, landing the amorous attention of not one but two dashing officers. Nurses in mufti – taking time out from tending gangrenous limbs – launch into a merry pas de six. Of course this isn’t a documentary, but it stretches credulity even so.

Sarah Kirkup's review for Bachtrack.

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Tamara Rojo’s Raymonda ticks all the boxes. It boasts a ravishing score to rival Tchaikovsky by Alexander Glazunov (played with gusto by the 65-strong ENB Philharmonic). It has a plot that, in Lucinda Coxon’s rewrite, is plausible and relatable (what woman hasn’t been tempted by a man whom her friends have warned her against?). And it’s a real company showcase, both for Petipa’s original choreography and Rojo’s additions: no dancer is allowed to play it safe (particularly the men, breathtakingly pushed to their limits here), and everyone has a ball.

 

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A preview of winter season dance by Karen Campbell in The Boston Globe.

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Boston Ballet continues its excellent series designed to elevate female choreographers with a very promising, wide-ranging program of five world premieres. Participating choreographers include principal dancer Lia Cirio, Claudia Schreier, veteran modern dancer Melissa Toogood, visual artist Shantell Martin making her first dance, and superstar New York City Ballet principal dancer Tiler Peck, who is creating a brand new work for Boston Ballet. 

 

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