Stuttgart Ballet at Sadler's

By Cristina de Lucas, 20 November 2013

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Reviewed at Sadler's Wells Theatre, London on 18 November 2013

Hommage á Bolshoi

Initials R.B.M.E

Romeo and Juliet (John Cranko)

La Dame aux camélias (John Neumeier)

Little Monsters (Demis Volpi)

Le Grand Pas de Deux (Christian Spuck)

Finale from the Seventh Blue

Unknown programme

Stuttgart Ballet

Maria Eichwald, Dancer

Filip Barankiewicz, Dancer

Hyo-Jung Kang, Dancer

Alexander Jones, Dancer

Sue Jin Kang, Dancer

Marijn Rademaker, Dancer

Alicia Amatriain, Dancer

Jason Reilly, Dancer

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As we reached the end of season gala, Ballett am Rhein offered up a selection of highlights from the past four seasons in celebration of outgoing Artistic Director, Demis Volpi.

***11

What can dance say about crime? Ballett am Rhein offer a response

Vikki Jane Vile, 5th April

The appetite for all things true crime is not a new trend. Podcasts, YouTubers, influencers and documentaries, this obsession has held a captive audience for well over a decade now.

***11

Demis Volpi's very modern Giselle: memorable but not fully formed

Vikki Jane Vile, 12th November

There are many ways to tell the story of Giselle, and Demis Volpi’s version for Ballett am Rhein offers up more than the odd surprise.

***11

Worth the sacrifice? Ballett am Rhein's Sacre offers mixed results

Vikki Jane Vile, 28th May

The programme’s middle work sees a detour from Stravinsky, to the music of Richard Strauss, lending itself to more lyrical work and some respite from the drama it's sandwiched between.

***11

Ballett am Rhein: engaging, intoxicating, emotive and not one plot!

Vikki Jane Vile, 25th February

Ballett am Rhein offered three pieces with no narrative, but this triple bill has broad appeal across the full spectrum of ballet and dance.

****1

An expressive showcase: Northern Ballet's Contemporary Cuts

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Northern Ballet demonstrate a range of qualities in a rich mix of contemporary work.

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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.

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