What the young dancers lack in finesse they make up in boisterousness. Sidorova's dance vocabulary seems endless. Kuindersma's Mesmer radiates into the theatre.
The Staatsballett jumps into the opulence of the past with Alexei Ratmansky’s reconstruction of Marius Petipa’s choreography of La Bayadère at the Staatsoper Unter den Linden
The fireworks – when they came – were explosive, Viktoria Tereshkina and Kimin Kim igniting the Royal Opera House stage in a frenzy of effervescent footwork.
Patrice Bart's staging of La Bayadère for Bayerisches Staatsballett may have been an unadventurous choice of program to kick off the Hong Kong Arts Festival but nevertheless there was much to admire.
In its 10th season, the steadfast and elegant Los Angeles Ballet impressed us with technical achievement, emotional expressivity, musicality, spirit, and focus in Don Quixote.
In the absence of a visiting Mariinsky or Bolshoi company during the summer hiatus, London's balletomanes could get their classical ballet fix via the St Petersburg Ballet Theatre in performances of Swan Lake and La Bayadère.
San Francisco Ballet's Program 3 explores the boundaries of classicism, from both ends, with La Bayadère's 'Kingdom of the Shades' , and neoclassical works from Hans van Manen, William Forsythe and Myles Thatcher.
National Ballet of Japan’s La Bayadère boasts a magnificent corps de ballet, and with prima ballerinas Ayako Ono and Yui Yonezawa as the lead ladies and guest star Vadim Muntagirov as Solor, this highly dramatic and thrilling perfomance of La Bayadère makes for a memorable evening.
Does the classical warhorse that is Petipa's Don Quixote suit Hong Kong Ballet's 40-strong troupe? Guest dancers Anna Tsygankova and Matthew Golding are the highlight of this new, two acts Ananiashvili production for the Hong Kong Ballet.
Week two of the Bolshoi Ballet's New York engagement featured the effervescent Maria Alexandrova as Kitri in a mostly successful Don Quixote. Alexandrova and Lantratov (as Basilio) lit up the stage of the Koch Theater (Lincoln Centre Festival, New York)
Andrew Blackmore-Dobbyn and Carla Escoda debate the merits of Olga Smirnova and Vadim Muntagirov in La Bayadère for American Ballet Theatre at New York's Metropolitan Opera House.
Grand, bold dancing by great Ballerinas! Ballerinas dance their favourite pieces. Sexy and sleek Brandsen. Lovely, deep Wheeldon. Larissa Lezhnina's last night. An absolute go see.
In terms of gasp factor, The Imperial Russian Ballet Company’s Don Quixote delivered, while adorned with all the Spanish trimmings, forbidden love and the odd wine-bottle maraca. Sarah Navin reviews at Illawarra Performing Arts Centre, Wollongong.
Tetsuya Kumakawa created a new La Bayadere for the 15th anniversary of his K-Ballet Company. A very entertaining production with a twist in the plot, he was sucessful in presenting a fresh interpretation on this classic.
American Ballet Theatre’s second program of their tour is the All Star Gala, not just a star-studded pas de deux evening but with two brilliant works, Balanchine's Theme and Variations and Ratmansky's Piano Concerto no. 1.
Carla Escoda reviews the opening night of San Francisco Ballet's Program 3, a mixed bill reviving Yuri Possokhov's Firebird, Christopher Wheeldon's Ghosts, and the Kingdom of the Shades scene from La Bayadère, at the War Memorial Opera House.
Boston Ballet opens its much anticipated 50th season with La Bayadère, the classic ballet of love, betrayal, and vengeance, set in an exotic and opulent kingdom in ancient India. Boston Ballet featured the world première of this production in 2010, with choreography by Florence Clerc after Marius Petipa, and music by Ludwig Minkus.
There can be no lovelier and mystical moment in classical ballet than the sight of 32 ethereal ‘Shades’ in a ribbon of white, slowly descending from a darkened mountain range, down a zigzag ramp to the stage.
On Thursday night the Sofia National Ballet’s production of Don Quixote whisked its Glasgow audience away to a fantastic world of chivalry, young love, dreamlike dryads and eccentric knights-errant throwing lances at windmills.
Ask any ballet fan about American Ballet Theatre and you can expect to hear about a long list of principal dancers and starring roles. With company members from around the world, the conversation could take place in any language and span generations.
Forget those photos from North Korea showing the build-up of weaponry. A couple of supersonic rockets were set off in London on Saturday night at the London Coliseum, and the audience is still reeling from the aftermath.
American Ballet Theater’s La Bayadère transports viewers to another world, not just back in time, but to a place that rarely exists outside one’s own imagination. This fantastic, limitless quality characterizes La Bayadère, from the sets to the costumes, the music, and of course the dancing.
It would be hard to find someone who has not heard of Anna Pavlova. The name alone conjures up words such as elegant, visionary, iconic. Her acclaim results from a career in ballet spanning over 30 years, in which she had a tremendous influence over the world of classical dance and earned her place as one of the finest Russian ballerinas in history.
El idealismo oriental de La Bayadera en la versión del Ballet de Monterrey, exhibe una recatada atmósfera imperialista teñida por la sustancia trágica y simbólica de sus personajes.
La frescura del ballet Don Quijote encandila al público tras la prolongada ausencia de la CND en Galicia. Una versión, que huye de los estereotipos recreando el folclore español.
La reprise de Don Quichotte à la Bastille, dans la version de Rudolf Noureev, affiche de prometteuses distributions, avec une première marquée par de très belles variations solos, peu d’accrochages et un corps de ballet globalement concentré.
La Bayadère, ballet féérique hérité de Rudolf Noureev, est de retour à l’Opéra de Paris dans une mise en scène étincelante et une distribution virtuose.
