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Chris Morgan
Scene Magazine, August 2017

Romeo and Juliet is a classic story that’s been told many different ways over the years. Sergei Prokofiev’s ballet is one of the best known adaptations, and after its premiere in 1938, the production went on to become one of the 20th century’s most popular versions of the drama. …The lead roles of Romeo and Juliet—performed by Maria Kochetkova and Davit Karapetyan, respectively—are true to character, employing dance to convey traits only suggested by the play.  …As Romeo, the 30-something Karapetyan is all grace and gravitas, a powerful dancer who impresses with his physicality and robust stage presence. © 2017 Scene Magazine Read complete review



Phil Muse
Audio Video Club of Atlanta, July 2017

The San Francisco Ballet puts on a handsome staging of Sergei Prokofiev’s enduring classic Romeo and Juliet. Recorded live on May 7, 2015 at the San Francisco War Memorial Opera House, it stars Maria Kochetkova (Juliet) and Davit Karapetyan (Romeo) as Shakespeare’s lovers, with Pascal Molat (Mercutio), Joseph Walsh (Benvolio), and Luke Ingham (Tybalt). These dancers are wonderful. Karapetyan is manly in his bearing and athleticism, with a range of emotional sensitivity required by the character. Kochetkova’s Juliet is beguiling. Her movements are deceptively easy, her leaps inspiring. In the Garden Scene in her pas de deux with Karapetyan, their movements together have the effortless feeling of slowly drifting clouds (which, of course, is the result of countless hours of painstaking rehearsal). Molat’s Mercutio is endowed with a seemingly endess bag of really funny comic business, whether flirting with the street harlots or baiting Ingham’s very menacing Tybalt. Walsh, as Benvolio, has some fine moments in a trio with his companions as they prepare to set out on a lark to crash the fete at the Capulets, an escapade that helps seal Romeo’s fate. © 2017 Audio Video Club of Atlanta Read complete review




Infodad.com, May 2017

The focus here is largely on the troupe’s founder, artistic director and principal choreographer, Helgi Tómasson: listeners and viewers must appreciate her handling of the story and the dancing in order to enjoy the recording—the fine conducting by Martin West and good (if not exceptional) orchestral playing are not enough. …Kochetkova and Karapetyan dance well together, although they act together less well—this is, after all, Shakespeare’s story of young and doomed love, and body language and facial expressiveness count for a great deal, beyond the requirements of ballet movements. © 2017 Infodad.com Read complete review





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