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Christie Grimstad, May 2012

…no detail is left unchecked within the opulence of costuming by Yolanda Sonnabend that is bracketed into Pierluigi Samaritani’s lavish sets. Visual qualities hark back to Metro-Goldwyn-Mayer’s cinematic vibrancies.

Svetlana Zakharova’s Nikiya is nothing short of spectacular….she’s in top form physically and emotionally. Her diaphanous arches have amazing fluidity and her supple blossoming into an arabesque penchée is simply divine; Ms. Zakharova captives us with blistering fascination. Heightened sequences abound especially in Act II’s pas de deux alongside the physical prowess and graceful mightiness of Roberto Bolle in the role of Solor. Completing the story’s love triangle is Isabelle Brusson as Gamzatti who is a well nuanced Gamzatti with beautiful execution despite her roughened detail. The three perform a salient “Apotheosis” in the final scene. “Amazing” is the only word that can describe Antonino Sutera as he sweeps through his “Dance of the Bronze Idol” with statuesque majesty.

Supporting the principal dancers is a delicate display by the Corps de Ballet. Using a number of props for group numbers…provide a framework to accentuate the geometric patterns set forth by Natalia Makarova. Olga Evreinoff’s La Bayadère is enhanced by La Scala’s colorful and dramatic orchestral interpretation. © 2012 Read complete review

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