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Alina Cojocaru: Dream Project 2014

It must be difficult to programme a ballet gala: you need to include the old favourites an audience expects, but have enough variety to maintain interest as well.

Great expectations

Last week, the feast of long-awaited dance events on offer echoed bygone days when London life was dominated by the strategically engineered appearances of rival ballet stars at the same time in different venues.

Triple Bill, Mariinsky Ballet, review: 'rapt heights'

The Mariinksy's triple bill showed their various and varying strengths, says Sarah Crompton.

Natalia Osipova and Ivan Vasiliev 'shudderingly embarrassing' in Solo For Two

THE ballet mega-stars should never have re-teamed for this trio of dances, says our critic.

Review: Natalia Osipova & Ivan Vasiliev - Solo For Two - London Coliseum

Extraordinary performers can enliven and elevate even the most dreary of choreography and, in today’s dance marketplace, the current superstars – Natalia Osipova and Ivan Vasiliev – could probably sell tickets to perform the hokey cokey (even if jus

Magic from the Mariinsky : a generous triple bill

Alexei Ratmanksy's Concerto DSCH is the highlight of a meaty programme, also featuring Fokine's 1910 Firebird and Ashton's Marguerite and Armand

Mariinsky triple bill, Royal Opera House, London

Expertly performed accounts of Fokine’s ‘Firebird’ and Ratmansky’s fizzing ‘Concerto DSCH’ sandwiched a lacklustre helping of Ashton.

Firebird/ Marguerite and Armand/ Concerto DSCH, Mariinsky Ballet, Royal Opera House

This was the most eagerly anticipated programme of the Mariinsky visit - something old, something borrowed and something new. The old, that colourful fairytale of Stravinsky’s lush, melodious youth, The Firebird; the new, a recent acquisition by the Lon

Mariinsky Ballet: Balanchine review performances of studied excellence

Royal Opera House, LondonThe Mariinsky's joyful dancing does much to make up for Balanchine's occasional lack of choreographic imaginationBalanchine's A Midsummer Nights Dream is little known in Britain, and for all those steeped in Ashton's well-loved ve