National Ballet of Canada at Sadler's Wells: Light tragedy in Alexei Ratmansky's Romeo and Juliet

Por Cristina de Lucas, 19 abril 2013

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Crítica hecha desde Sadler's Wells Theatre, Londres el 17 abril 2013

Romeo y Julieta (Alexei Ratmansky)

National Ballet of Canada

Guillaume Côté, Bailarín

Heather Ogden, Bailarín

Piotr Stanczyk, Bailarín

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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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.