Acosta Danza thrills Madrid in “Evolution”

Von Cristina de Lucas, 24 Oktober 2021

Laden, bitte warten...

Veranstaltung anzeigen

“Caravaggio-like illuminations... as penetrating as the light in the canvases of the Italian painter”

Rezensierte Veranstaltung: Teatro Real: Sala Principal, Madrid, am 22 Oktober 2021

Satori (Raúl Reinoso)

Mermaid (Sidi Larbi Cherkaoui)

Paysage, Soudain, La Nuit (Pontus Lidberg)

Two (Russell Maliphant)

Twelve (Jorge Crecis)

Acosta Danza

Carlos Acosta, Tanz

Liliana Menéndez, Tanz

Black Sabbath – The Ballet: right balance between ballet and rock

Graham Watts, 22nd October

The choreography, music and performance made this an impressive event, but Iommi’s cameo was an emphatic cherry on the top that sent the crowd home with an enthusiastic spring in their step.

****1

Nutcracker in Havana: a novel take on the popular ballet

Graham Watts, 1st November

A unique take on a well-worn favourite, Carlos Acosta has done a good job on his Havana based Nutcracker.

***11

Black Sabbath – The Ballet: hard rock with a soft centre

Vikki Jane Vile, 19th June

Birmingham Royal Ballet and Black Sabbath are two of Birmingham’s greatest cultural exports and now they are on a European tour together before heading to the US next year.

***11

Carlos Acosta: On Before inspires rapturous standing ovations

Kathy Elgin, 16th February

Carlos Acosta can still draw in the crowds and this carefully chosen programme is well worth watching.

***11

Birmingham Royal Ballet: Black Sabbath – The Ballet A hit or a miss?

Graham Watts, 27th September

A remarkable merging of two of Birmingham's greatest cultural institutions.

***11

100% Cuban as Acosta Danza returns to the UK

Graham Watts, 9th February

After a two-year interregnum, Acosta Danza are back at Sadler's Wells with an updated programme of five short works.

****1

Weitere Kritiken...

Cristina de Lucas

After a career in the legal field where she combined her job as an Attorney at Law with collaborative roles in various local and international cultural enterprises, Cristina de Lucas turned to dance research and criticism in 2009, when she moved to London. She obtained her doctorate from the Department of Dance at the University of Roehampton (London). Her fully-funded thesis focused on the confluence between dance and narrative in the repertory of the British choreographer Kenneth MacMillan. Her research has received several awards, such a full Vice-Chancellor scholarship and the 2014 SDHS Graduate Student Travel Grant. She also reviews dance and cinema, contributing regularly to several publications in Spain and UK.