Lynn René Bayley
, September 2012
It is wise of EuroArts to lead off with Vladimir Malakhov, as all three of his scenes are superbly danced, not only by him but also by his partners, Diana Vishneva in the Manon and Nadja Saidakova in Le Spectre de la Rose. Malakhov is a lighter, more buoyant presence than one is used to from male Russian ballet dancers; he practically floats through the air, and his motions are consistently more graceful than athletic. Voyage is very amusing, a solo turn in which Malakhov mimes many of the hassles and frustrations that travel involves, ironically set to the calming music of Mozart’s Piano Concerto No. 23. One thing that particularly impresses me in Spectre is the way in which Saidakova almost floats across the stage, particularly when walking rapidly backward on pointe, both at the beginning when alone on stage and later when partnered by Malakhov. Their adagios together are simply magical.
…in Lady of the Camellias, set to the Larghetto from Chopin’s Piano Concerto No. 1, both [Lucia Lacarra] and partner Cyril Pierre are wonderful, not only technically but also in expressiveness. Here especially the incredibly slow pace of the choreography, built around a succession of adagios with occasional flourishes, taxes the dancers to their utmost, yet both hold their positions time and again with perfect stillness.
Kiyoko Kimura, here dancing three abstract ballets by the celebrated Uwe Scholz, is consistently excellent…Scholz’s choreography to the Andantino from Mozart’s Piano Concerto K 271 and the Adagio from the Bruckner Eighth Symphony are simply magical. Kimura, partnered in the latter two ballets by Christoph Böhm, is magnificent, holding arabesques and seemingly floating on pointe with the utmost ease. Their combined work fills the stage as a moving painting: a delight for the eyes to behold. © 2012 Fanfare Read complete review