A Mixed Bill and a Mixed Evening

Por Julie Taylor, 13 abril 2011

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Crítica hecha desde The London Coliseum, Londres el 12 abril 2011

The Blue God (Mikhail Fokine)

El pájaro de fuego (Mikhail Fokine)

Natalia Blackhnicheva, Young Girl

Mikhail Yevgenov, Young Man

Nikolai Tsiskaridze, Blue God

Ilze Liepa, Goddess of the Lotus

Alexandra Timofeyeva, Firebird

Ilya Kuznetsov, Prince Ivan

Las Sílfides, Celeste y Carmen bajo el mismo techo

Eduardo López-Collazo, 23rd September

Las Sílfides, Celeste y Carmen se juntaron bajo el mismo techo para deleite de quienes aman este arte y pocas veces pueden apreciar estilos diferentes con los mismos protagonistas.

****1

American Ballet Theatre's legacy works: vintage or dated?

Ivy Lin, 17th October

An uplifting triple bill by American Ballet Theatre with three contrasting ballets. Especially entertaining were Tudor's Gala Performance and Agnes de Mille's Rodeo.

****1

A Diaghilev celebration from BRB2

Mark Pullinger, 6th May

Carlos Acosta devises a programme of Ballets Russes highlights to celebrate Serge Diaghilev and to showcase the young dancers of Birmingham Royal Ballet’s junior company, BRB2.

****1

National Ballet of Japan’s new triple bill is full of bold challenges

Naomi Mori, 15th March

While National Ballet of Japan’s latest triple bill presents many challenges, one hopes these valuable masterpieces will be revived, enabling the company to develop its virtuosity and artistry.

****1

Ballet Nights: an intimate evening with star quality

Deborah Weiss, 29th September

Ballet Nights offers a wonderful variety of dancing and genres. Whatever your preference, there are quality performances to enjoy.

***11

BRB2 in Carlos Acosta's Classical Selection is full of vitality

Graham Watts, 25th April

With five founding dancers in BRB2, this inaugural dance salad was embellished with other ingredients including the addition of seven members from the main company.

****1

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Julie Taylor

Freelance PR, writer and dance critic Julie Taylor is based in the UK. Throughout her career she has worked for a number of opera and ballet companies. Julie reviews a wide range of dance from classical to modern and has a particular interest in new work.