Opera & Dance654 entries
Opens: 30/09/2010 Closes: 25/10/2010 Royal Opera House, LondonThis year's Royal Ballet Season opens with the opulent and passionate Onegin choreographed by John Cranko. Young Tatiana falls for the aristocratic Onegin, whose fall leads him down a path of rejection and despair. A rich and tragic ballet with a score from Tchaikovsky and set design by Jürgen Rose. For more information visit: http://www.roh.org.uk/whatson/production.aspx?pid=13783 Buy: http://www.roh.org.uk/whatson/production.aspx?pid=13783&showall=True&tab=0&header=ima…
The Independent“A slow start to the Royal Ballet's new season...” Johan Kobborg is an unnerving Onegin, chilly and bitter. His partnering is secure, his turns clean and sharp. Steven McRae is a splendid Lensky, with fluid classical dancing and deft characterisation...
The Arts Desk“Much is by numbers, particularly for the two male parts...” The score is part of the trouble, an arrangement by Kurt-Heinz Stolze that lards Tchaikovsky’s mooning, private piano Seasons into fat, instrument-stuffed public scenes...
The Telegraph“The dancing here ever falls far below superlative...” A ballet full of warmth, somehow all the more lovable for its imperfections, and here lovingly danced. Highly recommended, as well as a salutary lesson to any fellow foolish enough to miss the grand amour sitting under his nose...
MusicOMH“Feels full of surprises from start to finish...” The ballet requires the differing personalities of the four main characters to be defined very clearly through both their dancing and expression, and it is a challenge to which the four principals rise supremely...
The Stage“The first-night cast was exceptionally good...” It is often the case that after the long summer break the Royal Ballet looks under-rehearsed, but in this first Onegin they are on good form. Special mention to Steven McRae as Onegin’s friend Lensky and Akane Takada as Tatiana’s sister Olga...
Guardian“You feel the world falling to its knees...” There are moments in act three where Onegin's breakdown succumbs slightly to the strain of melodrama in Cranko's storytelling. But as Tatiana forces the climax of the couple's final parting, the emotion is pure and harrowing...
Whatsonstage.com“Not yet reviewed”
Evening Standard“Not yet reviewed”
The Observer“Not yet reviewed”
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