She Said English National Ballet, Sadler’s Wells – Reviews
“TAKE two of the world’s greatest dancers simmering in a heartbreaking tale of love and loss, then stir in a passionate female artist and her unfaithful and irresistible lover and what you’ve got is hot.” by Jeffery Taylor – The Express
English National Ballet: Reviews
And their Latin dancers are showing us Brits that, in classical ballet, technical dazzle isn’t vulgar – it’s vital
Ismene Brown review at The Spectator
Modern Masters honours the work of three of the most influential choreographers of the 20th Century
“This wonderful show is full of romance, sex and stunning dancers”
The Daily Telegraph
SWAN LAKE REVIEWS
ENB Swan Lake at the Liceu Tamara Rojo & Isaac Hernandez
ENB’s Swan Lake at the Liceu (Tamara Rojo & Isaac Hernandez)Els cignes no són animals febles, són animals forts, com Odile. Compartim els 32 fouettés de Tamara Rojo a ‘El llac dels cignes’ de l’English National Ballet al Liceu.Los cisnes no son animales débiles, son animales fuertes, como Odile. Compartimos los 32 fouettés de Tamara Rojo en ‘El lago de los cisnes’ del English National Ballet en el Liceu.Swans are strong animals, like Odile. Here you’re the 32 fouettés by Tamara Rojo in English National Ballet’s Swan Lake at the Liceu Opera House.
Posted by Gran Teatre del Liceu on Sábado, 19 de septiembre de 2015
Carmen del Val, El País, “El Lago de los Cisnes”
Gran Teatro del Liceo, Barcelona.
El lago del éxtasis
«La magistral interpretación de Tamara Rojo en su doble papel de Odette-Odil en ‘El lago de los cisnes’ cortó la respiración del público del Liceo».
By Jeffery Taylor – Daily Express
By Mark Monahan – The Telegraph.
by Graham Watts – London Dance.
by Hanna Weibye – The Arts Desk.
by G. J. Dowler – Classical Source.
By Neil Norman – EXPRESS.
Lest We Forget
Le Corsaire: Reviews
Posted on by English National Ballet
“…a roaring success…ENB’s artists roar through the dances…with no sense of being tourists. They know who they are, and where they are.” ***** Clement Crisp, Financial Times
“The spectacle – as realised by the superb designs of Bob Ringwood – is stunning” ****
Laura Thompson, Daily Telegraph [Read Review
“Le Corsaire is all about dancing fireworks…the company as a whole was in a mood to party.” ****
Debra Craine, The Times: Read Review
“fabulously entertaining and colourful show throughout…if you’ve never been to a ballet, trust me, this is the place to start.”
**** Luke Jennings, The Observer Read Review
“ENB’s Corsaire delivers both exotic designs and rigorous dancing, then adds a radiant performance by ballerina Alina Cojocaru.”
**** Zoe Anderson, The Independent Read Review
Swan Lake in-the-round 2013
Reviewed By Zoë Anderson – The Independent Thursday 13 June 2013
“On opening night, Tamara Rojo’s Swan Queen had the charisma to fill the whole space”.
“There’s pause-button control in her early white swan scenes as her demure Odette deliciously stretches out her phrases with elegant assuredness. Later you can feel the adrenaline rising in the room as she spins her way through the 32 fouettés, ending with a sweet smirk that seems to say: “Oh that? Easy.”
“Ecstasy and Death”
Reviewed By Luke Jenning – The Observer, Sunday 21 April 2013.
Reviewed By Graham Watts – London dance, Saturday 20 April 2013.
Marguerite and Armand reviews – February 2013
Reviewed By Sarah Crompton – The Telegraph, 12 February 2013
…”each step has meaning. His passion is more than matched by Rojo, whose emotions are not only etched on her face, but in every muscle of her expressive body. She is simply wonderful.
“She gives vivid weight to the drama’s still moments”
Reviewed By Zoë Anderson – The Independent, 12 February 2013.
“Perfect partnership: Rojo and Sergei Polunin dance in Marguerite and Armand”
Reviewed By Lyndsey Winship – London Evening Standard, 12 February 2013.
“…the performance of both these superstars of ballet is almost unbearable in its emotional power. Rojo – now more used to giving correction to other dancers – cannot have given a more complete and assured performance as she beats a soulful retreat from the Royal Opera House”
Reviewed by Graham Watts – London Dance 13 February 2013
“The return of Tamara Rojo and Sergei Polunin to The Royal Ballet, albeit as guest performers, was the big draw of the company’s latest mixed bill”.
Reviewed by Sarah Frater – The Stage – 13 February 2013
“Rojo cannot put a beautifully-arched foot wrong, and mopes and coughs tremendously. (That she is an ideal interpreter in Ondine, one of Ashton’s greatest works and languishing unperformed, is a further irony about this programme.)”
Reviewed by Clement Crisp – Financial Times – Wednesday 13 February 2013
“You’d sit through it all again just to see Rojo’s tempestuous farewell and Polunin’s command of the stage”.
Reviewed by Siobhan Murphy – METRO – 14th February 2013
“Rojo is mesmerising, her considerable physical capacities absolutely harnessed to the drama, so that the tremulous rise of one foot from demi to full pointe was as heart-stopping as her wildest leaps into Polunin’s arms”.
Reviewed by Hanna Weibye – bachtrack – 14th February 2013.
“….Rojo has never been more incandescently beautiful, nor more vulnerable. Her performance seems to contain fleeting aspects of all the great ballerina roles that she’s performed”.
Reviewed By Luke Jennings – The Observer – 17 February 2013
THE SLEEPING BEAUTY
Financial Times Reviewer: Clement Crisp – January 2013
“Tamara Rojo was a serene Aurora in English National Ballet’s honourable, eloquent staging”
The Arts Desk – Reviewer: Ismene Brown – January 2013
“The loveliest Beauty in Britain from a company that believes in classical ballet”
Londonist – Reviewer: Sam Smith – January 2013
“Amid an excellent line-up, the stand-out performance”
Express – Reviewer: Neil Norman – January 2013
“ANY doubts about Tamara Rojo’s impact on the ENB are swept away with a stunning production of the world’s greatest ballet”
The Public Reviews – Manchester
Reviewer: Peter Jacobs – 1 December 2012
“Tamara Rojo, recently appointed as Artistic Director of the company following the departure of Wayne Eagling, is something of a revelation, seeing her dance for the first time. Her incredible elegance, strength, control and beauty gave me goosebumps during the Rose Adagio. You get a real sense that you are watching a true Prima Ballerina, effortlessly and elegantly concealing the effort behind such physically exacting and demanding performance.”
Date Reviewed: 31 October 2012
Venue: Empire Liverpool
Review by Vicki Goodwin
“Ballet can at times appear intimidating to audiences, yet the English National Ballet have created a classical performance which is hypnotic enough to act as a stunning introduction, whilst at the same time holding the ability to keep even the most critical of ballet enthusiasts happy.
“In short, this is a spellbinding piece that will keep you enthralled all evening. Unmissable!”
Review by Laura Thompson.
“Indeed, I found myself moved beyond measure by this beautiful little figure, looking for all the world like a 16-year-old princess to whom everything is new and magical, upon whose shoulders now lay the alarmingly grown-up challenge of ensuring that English National Ballet survives in a climate of Arts Council cuts and creative risk-aversion”.
Review by Sarah Frater
“English National Ballet is to be credited for bringing high quality classical ballet to out-of-London audiences. These are challenging times for the smaller troupes, but the ENB dancers show considerable commitment to their touring obligations”.
Reviewer: Maggie Constable
“This was a spectacular and thoroughly pleasurable evening’s entertainment. Classical ballet just as it should be. Definitely not to miss…..you will be transported from your worldly worries into a fabulous soiree of beauty, artistry and magical charm. Enjoy!”
Dance File Review: “The Sleeping Beauty”
Reviewer: Jean Rush, October 2012.
“The occasion was the first night of English National Ballet’s autumn tour, and the debut of new Artistic Director Tamara Rojo dancing with the company. Can she be both ballerina and artistic director? She certainly can, as this first performance proved”