Rudolf Nureyev’s Sleeping Beauty under La Scala Ballet with Guillaume Côté as the Prince was da bomb as in BOMBED at the Royal Opera House! I feared the often very fickle Brit critics would snub their noses at this hyperbolic production overflowing with mime. Even the very princely Guillaume Côté did not escape unscathed.
After the millionth tour, the expression on Côté's face was less one of sweet bewitchment than of mounting panic.
"If this solo doesn't end soon," it seemed to say, "would someone please shoot me?"
Allen Robertson of the Telegrah
Her Prince, Guillaume Cote, is a guest from the Canadian National Ballet - decently trained but sometimes too fancy in manner.
He partnered Romagna well, even though she is a bit tall for him.
John Percival penned the above.
After a shaky start,
Côté danced well, although Marta Romagna's Aurora had a stridency from start to last.
Mark Monahan’s review brought up many of the concerns I’ve expressed about Nureyev’s super long version of Sleeping Beauty.
Despite all of this the production fails to ignite. Wednesday’s opening performance, fielding the first of three casts, felt brittle beneath the glitter. The dancing was often under par, steps occasionally fudged, characterisations rarely reaching beyond cliché.
…Her prince, Guillaume Côté,
a guest from the National Ballet of Canada, fared better, even if he did have to cope with a fiendish but pointless solo that Nureyev interpolated into the second act.