Discover what is being said about the Royal Ballet’s revival of John Cranko’s 1965 take on Pushkin’s romance…
The Observer: ***** “The Royal Ballet dances it with a fine appreciation of its dramatic power, recognising how the intricate structure of its steps explains character and motivation.”
The Standard: **** “Cranko’s ballet isn’t as seamy or complex as the mid-century classics by his friend Kenneth MacMillan, but it retains a piercing sense of the harm we do to ourselves. Characters gasp to think what they’ve done: challenge a friend to a futile duel, fritter away their heart or miss the love that stares them in the face. Woulda coulda shoulda.”
London Unattached: **** 1/2 “There is still plenty of charm and romance but a grittier and more realistic emotional landscape than in the classical repertoire.”
Bachtrack: ***** “Although not created here, Onegin is unquestionably a jewel in the Royal Ballet’s treasure chest and the Orchestra of the Royal Opera House, conducted by Wolfgang Heinz, gave an impressive account of a score that has both dramatic power and the eloquence of sensitive intimacy. It was a splendid performance and I’m sure that the long run (it continues until mid-June) will only get better. “
Gramilano: **** “In addition to the principals, Lukas Bjørneboe Braendsrød gave a fine account of the role of Prince Gremin, especially in the loving duet in the last act with his wife, Tatiana. As Madame Larina, Elizabeth McGorian was a warm-hearted mother to Tatiana and Olga. The ensemble dancing of the corps de ballet was admirable throughout.”
South London.co.uk: “Whilst a summary of the plot will be necessary to fully comprehend the story of Onegin, especially considering the tendency for Olga and Tatiana’s costuming to be strikingly similar, the ballet’s exploration of grief, friendship, betrayal, and passion is enchanting. Visually stunning and emotionally devastating, the Royal Ballet’s Onegin is a prime example of why people continue to gravitate towards dance as a medium for storytelling and performance.”
Opera Wire.com: “Henrik Nánási conducted the Orchestra of the Royal Opera House, shaping the score with lyrical insight from the outset. The sighing string figures of the opening had varied patterns of emotional light and shade, one sequence yearning, another resigned. “
Broadway World: **** “All in all Onegin is a very successful night at the ballet. The company dance the original choreography evidently well, and the meaty roles are being tackled with gusto…but there’s work to be done. Lucky them!”
The Stage: **** “A refreshed stage version of the Pushkin classic is full of emotional complexity.”
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