thu 06/02/2025

dance

La Bayadère, Bolshoi Ballet, Royal Opera House

Ismene Brown

It’s unspeakably bad for so many reasons that the injured Bolshoi Ballet director Sergei Filin cannot be in London to see his company perform, and one is that he can’t see his protegée Olga Smirnova revealing herself to us as destined to be one of the great ballerinas of this era.

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Carlos Acosta, Classical Selection, London Coliseum

Ismene Brown

The mighty adorable Carlos Acosta is at the London Coliseum this week in all his might and all his adorableness - four times, you may like to know, he appears without his shirt on.

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Swan Lake, Bolshoi Ballet, Royal Opera House

Ismene Brown

Everyone must be wishing the Bolshoi Ballet a swift return to company health after the tragic events of this year, as well as a return to physical health by their horribly injured artistic director - in the circumstances it’s heroic that they have got to London at all, let alone in such good performing order as they showed last night.

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Petrushka/ Song of a Wayfarer/ Raymonda, English National Ballet, London Coliseum

Ismene Brown

A magical folktale, a male duet, a classical jewel-box - programmes like this should be a rich part of the warp and weft of a ballet company, a night of rich interest and variety, stimulating dancers with challenges to their grace and storytelling skills. That it comes as the briefest glimpse in English National Ballet’s year is truly a pity, especially as it pays tribute to that superlative catalyst in ballet, Rudolf Nureyev.

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Prom 17: Antonio Márquez Company, BBC Philharmonic, Mena

Jasper Rees

JThis year’s Proms have been accompanied by an unusual choral drone, a monotony of voices whinging about the prodigious heat at the Albert Hall. For one night only no one was complaining as the temperature gauge went up to something like 111. You’ve heard of the Hollywood Prom and Comedy Prom, the Gospel Prom and the Dalek Prom.

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Quimeras, Paco Peña and Dance Companies

David Nice

Happy truisms first: Paco Peña is still the greatest of flamenco guitarists, he works with a consummate team of regulars in the most vibrant of dance-art and he keeps it fresh by scouring the world for different players or ensembles to complement his own flamencistas. I’ll never forget equal artists Venezuelan Diego Alvarez, creating miracles from the simple plywood box with vibrating strings known as the cajón, and on this occasion the breathtaking Senegalese dancer Alboury Dabo.

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Coppélia, Stanislavsky Ballet, London Coliseum

Ismene Brown

When a person is happy in his work, he does his best. So best ignore what Sergei Polunin says on the page of a newspaper and look at what he does on stage. Now there’s a happy boy.

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Boston Ballet, London Coliseum

Ismene Brown

In a summer awash with Russian ballet, at its best extravagant, limpid, spectacular - an experience of emotions processed through the eyes - a visit by an American company comes from a quite different sensory position: dance as intelligent motion, rhythmically schooled athleticism.

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Rosas, Drumming/ The Forsythe Company, Sadler's Wells

Ismene Brown

William Forsythe and Anne Teresa de Keersmaeker in a week - it has to be Sadler’s Wells, the theatre to sample some of the world’s best dance stuff. De Keersmaeker’s Rosas are briefly here to take part in Sadler’s "Sampled", a new thread of summer performances surrounding a single famous piece with chat, film, interactivity and other related things.

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Mayerling, Royal Ballet

Judith Flanders

My great-grandmother used to say, "In the fall, leaves fall," meaning that as the weather gets colder, people die. The Royal Ballet has had leaves falling all year, and in the height of the (ha!) summer one of the most tenacious, and most beautiful, finally fluttered down. Leanne Benjamin, a principal since 1993, retired in the role of her choosing, Kenneth MacMillan’s Mary Vetsera, a crazed, sexed-up nymphet with a death-wish.

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