Ratmansky adds choreographic sense to Bolshoi Corsaire

By Jade Larine, 13 August 2016

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“a guilty pleasure to enjoy once in a while”

Reviewed at Royal Opera House, Covent Garden, London on 11 August 2016

Le Corsaire (Alexei Ratmansky, Marius Petipa)

Bolshoi Ballet

Maria Alexandrova, Dancer

Vladislav Lantratov, Dancer

Anna Tikhomirova, Dancer

Nina Kaptsova, Dancer

Vyacheslav Lopatin, Dancer

Bolshoi Theatre Orchestra

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

London City Ballet at the Linbury: joy and sorrow at its best

Deborah Weiss, 19th November

London City Ballet move into a new venue with absolute confidence and gravitas in a quadruple bill that says everything about their future and success.

*****

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Jade Larine

Jade graduated in political sciences then studied Russian civilisation. Conservatoire-trained in classical music in her early years, she also took ballet classes and still stands at the barre in Paris. A devout balletomane, she writes for French ballet medias and carries out researches on Russian ballet and politics. Her interests range from 19th-century Russian ballet to sovietic choregraphy, as well as neoclassical narrative ballets. She particularly enjoys watching ballets at the Bolshoi.

Ratmansky adds choreographic sense to the Bolshoi's Corsaire