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Rob Maynard
MusicWeb International, May 2017

Whether initially skipping girlishly and lightheartedly across the stage or, later, exhibiting emotional depths that almost appear to surprise herself, [Kochetkova’s] portrayal of Juliet remains of a piece yet simultaneously demonstrates a credible degree of character development. Moreover, Ms Kochetkova’s technique is consistently and skilfully deployed to develop and add to choreographer Helgi Tomasson’s conception of the role.

[Davit Karapetyan] is an example of what sometimes appears to be an endangered species these days, the danseur noble.

The San Francisco supporting cast is also very fine. Those impetuous young roisterers Mercutio, Benvolio and Tybalt are each well characterised and are danced, moreover, by clearly accomplished artists. I also enjoyed Anita Paciotti’s fussily quasi-maternal portrayal of Juliet’s nurse. The company’s corps de ballet performs with energy and enthusiasm and does a fine job in giving us a well-differentiated selection of those haughty aristocrats, flirtatious young ladies, busy townsfolk, even busier harlots, fearsome soldiers, befuddled if well-meaning clergy and assorted general onlookers who people Prokofiev’s vision of Renaissance Verona. © 2017 MusicWeb International Read complete review

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