Maria Kochetkova is exceptional as Juliet, her movements always graceful, supple and beautiful. Her facial expressions early in the ballet radiate an ingratiating childlike innocence and joy, but in the darker and more tragic moments later on transform subtly to frustration, fear and sadness. She is a fine actress and a great dancer. Davit Karapetyan makes a splendid Romeo: his dance scenes with Juliet exude passion and deep love, and his sword fight with Tybalt divulges both exceptional athleticism and gracefulness. Luke Ingham in the role of Tybalt is also very convincing, both in his dancing and acting skills. (Robert Cummings, Classical Net)
Decca's Ultimate Ballet: The Essential Masterpieces is a budget box set of five discs covering the major dance works in the classical repertoire; newcomers to the genre can quickly pick up the basics from this generous collection. One can argue that Tchaikovsky should have been allotted greater space and that at least one of his ballets should have been presented in its entirety, rather than all three represented as suites and squeezed together on disc 1 to make room for Delibes' complete Coppélia. The Nutcracker, for example, could have fit nicely on a single CD, or an extra disc could have been provided to accommodate either a complete Swan Lake or Sleeping Beauty.
"A Showcase for and a love letter to a century of amazing music" is how the creator of The Enchanted Island, Jeremy Sams, described this spectacular operatic pasticcio of music by Handel, Vivaldi, Rameau, Purcell and others. Premiered at the Metropolitan in New York on New Year's Eve 2011, it stars Joyce DiDonato, David Daniels, Danielle de Niese and Placido Domingo, and is conducted by William Christie.
Set in the exotic surroundings of the Ottoman Empire and with a narrative encompassing abduction, murder and shipwreck, Le Corsaire is a swashbuckling pirate drama that delights for its spectacular nature and which includes some of the most bravura male dancing in the ballet repertoire. The work’s evolution has been a complex one, its libretto and choreography subject to numerous revisions since its first appearance in Paris in 1856, and in this English National Ballet production – the first British staging of the work – former-ballerina-turned-choreographer Anna-Marie Holmes adapts the 1974 Petipa-Sergeyev Kirov version to create ‘brisk, stylish entertainment’ (Guardian) that is visually enhanced by Hollywood designer Bob Ringwood’s ‘superb’ (Daily Telegraph) Orientalist sets and costumes. First-rate dancing by the company and its soloists – including Alina Cojocaru’s ‘radiant performance’ as Medora (Independent), Yonah Acosta’s ‘vividly drawn and villainous’ Birbanto (Financial Times) and Vadim Muntagirov’s ‘compelling’ (Daily Telegraph) portrayal of Conrad – underscores the ‘roaring, madcap success’ (Financial Times) of this production.