Review from the FT.
The new ballet season began on Friday night at Covent Garden. And what better opening than Natalya Makarova's staging of La Bayade`re. Here are the demands of rigorous academic dancing and dramatic veracity that should lie at the heart of the Royal Ballet's identity. Convincing dance-acting has ever been one of the virtues of the troupe - small roles lovingly shown; major characterisations commanding in scale (think of Mayerling or Manon) but the company's academic style has been diminished in recent years by a lack of clarity, of bravura, and by corrupting tosh that pretends modernity and offers vulgarity, cheap-jack emotion. MORE
And from The Telegraph.
The Royal Ballet has opened its immensely important 2003-04 season with the exotic Russian 19th-century classic, La Bayadère. After the turbulence of the brief Ross Stretton directorship, Monica Mason, his successor, is expected to steer this great company not just away from whirlpools but from a more insidious threat, the windless doldrums MORE
And from The Times.
BRITISH ballet, like English football, is now so truly international that you wonder how it would cope without its foreign signings. Just look at the opening of the Royal Ballet’s season at the weekend. Two performances of La Bayadère involved six star dancers, and not one of them was British. MORE
And The Guardian.
Generically, La Bayadère ranks alongside the great moonlit tragedies of the repertory. Like Swan Lake and Giselle, the ballet's poetry is consummated at night, its heroine is exquisitely marked for death and its hero torn haplessly between two loves. Yet, on this occasion, the ballet's casting gave Bayadère an unusually robust spin. MORE
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