Augurs of Spring: Mariinsky double bill in Cardiff

Por Mark Pullinger, 18 abril 2016

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“Waltz's Sacre bursts with primal energy to rival Stravinsky's score”

Crítica hecha desde Wales Millennium Centre, Cardiff el 17 abril 2016

Concerto DSCH (Alexei Ratmansky)

Le Sacre du printemps (La consagración de la primavera) (Sasha Waltz)

Mariinsky Ballet

Valery Gergiev, Dirección

Mariinsky Theatre Orchestra

Ekaterina Kondaurova, Bailarín

Svetlana Ivanova, Bailarín

Konstantin Zverev, Bailarín

Kimin Kim, Bailarín

Philipp Stepin, Bailarín

Nadezhda Batoeva, Bailarín

Vladimir Rumyantsev, Piano

La CND despliega un logrado tríptico neoclásico

Leonardo Mattana Ereño, 10th July

Tres coreografías de registros estilísticos homogéneos, pero capaces de reservar sorpresas gracias a las cualidades y el buen quehacer de la Compañía Nacional de Danza.

****1

American Ballet Theatre's double bill is short and sweet in New York

Ivy Lin, 15th March

American Ballet Theatre presents Balanchine's Raymonda: Grand Pas Hongrois and Ratmansky's Firebird which showcases the company well and provides a strong contrast.

****1

A spectacular triple bill lifts ABT’s spring season in New York

Leigh Donlan, 13th March

A finely curated triple bill from American Ballet Theatre included works from Balanchine, Jiří Kylián and Alexei Ratmansky.

****1

NYCB: Ratmansky’s The Naked King is not satire, but good fun

Ivy Lin, 7th February

New York City Ballet presents a very entertaining quadruple bill which includes Alexei Ratmansky’s latest work, The Naked King, showing off the company’s comic talents.

****1

NYCB: Balanchine + Ratmansky program warms the audience

Ivy Lin, 20th January

NYCB has a winning triple bill with its Balanchine + Ratmansky program. Excellent dancing and contrasting works sends the audience home in buoyant mood.

*****

Dutch National Ballet's opener in New York: meandering and unfocused

Ivy Lin, 20th November

Dutch National Ballet returning to New York after more than 40 years should have been thrilling. The opening program, whilst beautifully danced, was somewhat muted.

***11

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Mark Pullinger

Mark has been a Bachtrack editor since 2014. He is also an experienced critic, writing hundreds of reviews for the site, as well as a freelancer writing for other magazines and newspapers. He also writes programme notes and blogs on Substack. Mark has a particular passion for the operas of Verdi as well as Russian and French repertoire. Outside the concert hall and opera house, Mark enjoys cooking and travel and is probably at his happiest let loose in a French patisserie or a Viennese coffee house.

Augurs of Spring: strong Mariinsky double bill in Cardiff