Harlequinade shows Ratmansky's usual scrupulous care when reconstructing Petipa's ballets. His attention to detail and obvious love for the art form are to be admired. But these ballets are also living, breathing works and they need strong performances to be viable in the repertory.
Ulrich Birkkjaer presented an affecting portrait of a tormented Shostakovich, as he paced, leapt, slumped, was propped back to standing, and relentlessly propelled forward.
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
Alexei Ratmansky and Justin Peck are all the more impressive among choreographers working today because of how many of their works seem destined to stay in the repertoire for a long time to come.
Twelve years after its creation, we’re still talking about what’s going on in Russian Seasons and we’re still looking forward to what the next dancer in gold, or red, or green will do with the role.
How does one condense a Tolstoy epic for the stage? In Anna Karenina, choreographer Alexei Ratmansky focuses on the three central characters, filleting the novel to its bare essentials.
It’s full of rich characters and a great story that weaves farce, tragedy, exotic music, and outstanding stagecraft together into an experience that takes you away.
Not all choreographers take on a gruelling tabletop assignment before defining the movements of a performance. Yet to reconstruct the 1895 Mariinsky Theatre production of Swan Lake, Alexei Ratmansky did just that.
American Ballet Theatre's Whipped Cream should be seen for Ryden's sets and costumes alone. A free-floating eye and a sweetshop whose ingredients come to life create a very surreal world.
Wheeldon’s vocabulary, Ratmansky’s Lyricism, Pastor’s roaring engine and Dawson’s mesmerising planetary roaming little prince Edo Wijnen, make for a happy afternoon.
Damian Woetzel puts together programs, musicians and dancers with a creative curator’s eye and gets the most out of the new combinations. This show was great.
Who needs a pumpkin carriage ride to transport you to the ball when you could surf celestial webs instead? Certainly not Prokofiev's Cinderella, if Alexei Ratmansky’s 2013 Australian Ballet production is anything to go by.
A great deal is going to be written about Cassandra Trenary in the coming years and people will spend a lot of time trying to analyze what it is that makes her special but it will all come back to one simple thing: there’s something in the way she moves.
The moment a mouse peeked out of a stewpot in the kitchen of the Stahlbaum’s kitchen, I knew that the current American Ballet Theatre version of The Nutcracker would keep me engaged all evening.
Towering architectural sets, expansive multifaceted dancing, and an detailed playing from an exceptional orchestra deliver an emotional performance in Alexei Ratmansky's Russian adaptation of Prokofiev's Cinderella for Mariinsky Ballet.
Nadezhda Batoeva , a younger generation ballerina at the mariinsky, excels as Cinderella, in an otherwise disapointing production, performed here at BAM , New York City.
Alexei Ratmansky's The Nutcracker for American Ballet Theatre is probably the best one since it was first created. Gillian Murphy and James Whiteside danced with poignant grace and radiant musicality that thrilled the audience.
Soon to retire principal ballerinas, Julie Kent and Xiomara Reyes, delivered poignant performances in Alexei Ratmansky's Seven Sonatas along with poetic dancing by Joseph Gorak. Other standouts included solist Devon Teuscher in the Raymonda Divertissements and James Whiteside in Fancy Free.
It was clever programming to bookend the Mariinsky’s three-week London residency with two Prokofiev full-length ballets – starting with its classic, but dated, 1940 Romeo and Juliet, and ending with the contemporary chic of Alexei Ratmansky’s Cinderella.
A Soviet sun shines down on Ratmansky's The Bright Stream at The Bolshoi Theatre in Moscow. From its 2003 première, his Bright Stream became an instant hit with audiences both at home and abroad – and it’s easy to see why.
Carla Escoda reviews San Francisco Ballet in Alexei Ratmansky's Shostakovich Trilogy, a co-production with American Ballet Theatre, premiering in San Francisco this season.
Dutch National Ballet's Fairytales is fantastic night out for all ages. Anna Tsygankova as the title role in Firebird and Remi Wörtmeyer as Puck in The Dream stun their Dutch audience with their athleticism and expressiveness. At Amsterdam Muziektheater.
With a rocket-fuelled, high-octane production of The Flames of Paris, the Bolshoi Ballet has concluded its three-week season in London. And with the reappearance of the company’s former Wunderkinds, back as guest artists, to dance together in the ballet’s opening performance, how could it be anything but an exciting and exuberating final flourish to the tour.
