Hints and tips:
...ENB director Tamara Rojo nailed every laugh as the monstrous stepmother in her just-one-more-glass-darling duet with Fabian Reimair....
...Siegfried is a great deal more than the sum of his solos but this is a lesson that Isaac Hernández, awarded Thursday’s opening night by ENB director Tamara Rojo, has yet to learn....
...We’ve seen more overtly alluring Marguerites — Tamara Rojo was utterly convincing as the man-magnet of the first salon scene — but Ferri is heartbreaking during the brief country idyll....
...After a gruelling 49 performances, mangling their metatarsals as snowflakes, peasants and mirlitons they could still shimmer impeccably through Deane and Ashton’s geometry in eerie accord, a fitting context...
...The long Act Three “When I am married” mime, meticulously plotted by Ashton with help from Diaghilev ballerina Tamara Karsavina, is almost dancer-proof but was very sweetly done....
...A vehicle, made for Fonteyn and Nureyev at their most obvious, and cursed with a supernally tiresome orchestration of the Liszt piano sonata, it bears revival because in Tamara Rojo (here making her farewell...
...It is a piercing work of art, gloriously done by Tamara Rojo as the Woman – her feelings concentrated in the ravishing outlines of her dance – by Carlos Acosta, potent in his stillness, and by Rupert Pennefather...
...Not so, if these performances by Tamara Rojo and Sergey Polunin are anything to go by. Preferable, I venture. Marguerite was, historically, 23 years old at her consumptive death....
...Ashton’s La Valse completes this bill: the music drives onward to self-immolation; the cast as yet miss the abandon, the intoxicating urge towards the final cataclysm....
...She came subsequently to London, and became nurse and goad to much choreographic creativity, from Frederick Ashton and Antony Tudor onwards....
...Now, even with Tamara Rojo (whose interpretation I ungallantly prefer to Fonteyn’s), a shift of emotional power can seem to favour Palemon, and never more so than with Edward Watson in the role....
...Last week Ansanelli appeared as Ashton’s Ondine and gave a heart-touching, intense reading. With the end of this season she has announced her retirement, at the age of 28....
...Under the frisky title of Sir Fred and Mr B, Birmingham Royal Ballet has come up with a double-bill, playing Balanchine’s Mozartiana with Ashton’s The Two Pigeons....
...Her name is on the plaque, as are those of the founder choreographer, Sir Frederick Ashton, the composer Constant Lambert, and the dancer whose fame made her a superstar before we’d invented the term – Margot...
...Ashton, MacMillan – let alone Fokine, Massine, Nijinska, Balanchine, Tudor – made short works which embody the splendour of 20th-century dance....
...Ashton’s pre-war staging did not last....
...But Tamara Rojo adorably has the choreography’s measure, and so, too, Federico Bonelli and the young Sergei Polunin....
...And how does the piece now look, with very different interpreters – I have seen both Marianela Nuñez and Tamara Rojo – at the Opera House?...
...“Butterflies of a brief summer” – so Tamara Karsavina identified the dancer’s life....
...Ashton, most stylish of choreographers, is made dowdy. ★★★★★Tel +44 20 7304 4000...
...Dancers from Birmingham Royal Ballet, very properly, appeared at the gala, and Tamara Rojo, Alina Cojocaru, Johan Kobborg were there to shine and delight us, and Ashton’s La Valse swirled to its doom in...
...And as a last choice of delights to come, I know that one of my chief pleasures in watching the Royal Ballet is the dancing of Tamara Rojo....
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