Polish National Ballet in Fredriana: a rollicking double bill

Diogo de Oliveira and Marco Esposito in Anna Hop's Husband and Wife

Marco Esposito as Wacław and Joanna Drabik as Elwira in Anna Hop's Husband and Wife

Polish National Ballet in Anna Hop's Husband and Wife

Polish National Ballet in Conrad Drzewiecki's Sarmatian Parable

Laurence Elliot as Wacław and Nikola Dworecka as Klara in Conrad Drzewiecki's Sarmatian Parable

Por Graham Watts, 17 junio 2024

Descargando, espere, por favor...

Ver la programación

“The sex scenes are rib-crackingly hilarious”

Crítica hecha desde Teatr Wielki, Warsaw el 15 junio 2024

Sarmatian Parable (Przypowieść sarmacka) (Conrad Drzewiecki)

Husband and Wife (Anna Hop)

Polish National Ballet

Krzysztof Pastor, Dirección de escena

Orchestra of the Teatr Wielki

Marco Esposito, Bailarín

Joanna Drabik, Bailarín

Lucía Lacarra y Matthew Golding nos acercan las distancias

Jorge Baeza Stanicic, 23rd January

Lucía Lacarra y Matthew Golding, también afectados por la separación forzada, proponían una unificación de coreografías preexistentes en un todo unitario para compartir su experiencia vital, fusionando sus movimientos con imágenes proyectadas en pantalla y con una selección musical de carácter íntimo y profundo.

*****

Polish National Ballet: Anna Hop's Pinokio is a great achievement

Graham Watts, 21st April

Polish National Ballet has a successful new family ballet in Anna Hop's full-length Pinokio.

****1

Polish National Ballet: two substantial new works by women

Graham Watts, 28th January

If the world is short on female choreographers then there are two in Poland just waiting to be discovered!

****1

Polish National Ballet: Anna Hop's Pinokio is a great achievement

Graham Watts, 21st April

Polish National Ballet has a successful new family ballet in Anna Hop's full-length Pinokio.

****1

A radical take on Romeo and Juliet at Polish National Ballet

Jenifer Sarver, 16th April

Prokofiev's score is reordered, the choreography is contemporary, characters are missing, and each of the three main scenes is set during a different 20th-century time period... yet, to a certain extent, it works.

***11

A tawdry travesty of a Traviata in Warsaw

Jonathan Sutherland, 7th April

Mariusz Treliński's Traviata had nothing to do with Dumas, Piave or Verdi. It's as if he confused La Dame aux camélias with Lulu.

**111

Más críticas...

Graham Watts

Graham Watts is a freelance dance writer and critic writing regularly for Dancing Times, Dance Europe, Danza Europa, and many more publications. He regularly writes features for Sadler’s Wells, London Coliseum and La Scala. Chairman of the Dance Section of the Critics’ Circle in the United Kingdom and of the UK National Dance Awards he has interviewed many of the greatest names in dance including Maya Plisetskaya, Vladimir Vasiliev, Boris Eifman, Alexei Ratmansky, Andris Liepa, Sir Peter Wright, David Bintley and Dame Gillian Lynne. When not involved in dance Graham is a keen fencer, and has captained the British Sabre team.