Review from The FT
The Royal Ballet's tribute to Rudolf Nureyev, marking the 10th anniversary of his death, is very curious. With the best of intentions - but we know where those lead - the company has contrived to put every foot wrong, including the one in which, during the course of Saturday evening, it repeatedly shot itself. MORE
Nureyev made an unforgettable and beneficial impact upon the Royal Ballet, as dancer, as producer, and supremely as star. And, star-like, he commanded vast admiration. He warmed the s tage, the audience, his fellow dancers, the art of ballet itself, and this was his genius. Having, mercifully, spared us an evening of choreography by Angelin Preljocaj, Monica Mason won our hearts still further with the id ea of a Nureyev tribute as replacement - and this within a few days of her appointment as director of the Royal Ballet.
And from The Telegraph.
The Royal Ballet was for many years Rudolf Nureyev's artistic home. It was the company with which he enjoyed his greatest triumphs and with whose prima ballerina, Margot Fonteyn, he established a legendary partnership. So it is fitting that, on the 10th anniversary of his death, the company should celebrate his career. MORE
And The Times.
NOW here’s a curious evening. The Royal Ballet’s tribute to Rudolf Nureyev, on the tenth anniversary of his death, is supposed to remind us of what an extraordinary, dangerous and charismatic performer he was. But what we get is an art-house film and an evening of ballets associated with Nureyev that don’t quite add up to a happy celebration of a great artist. MORE
Still, you can’t argue with the revival of Apollo — any excuse to see that again — or with the roster of exciting men the Royal fielded on opening night (most of them, alas, guest artists). Irek Mukhamedov, Carlos Acosta, Laurent Hilaire, Tetsuya Kumakawa and Johan Kobborg: proof that the art of male dancing, so enriched by Nureyev’s blazing presence, is alive and well.
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