Anna Karenina
LUCY VAN CLEEF considers John Neumeier's take on the classic Russian tome

A man and a woman sit at opposite ends of a long table. He stands and approaches her, tenderly encircling her head with his arm as she leans into his caress. The movements are as sumptuous, tender and as all-encompassing as the familiar Tchaikovsky score that envelops the dance. Here, at the start of Act II and with Count Vronsky, Anna Karenina has everything she thought she wanted, yet she is still unhappy. When the lovers repeat this sequence at the end of their encounter, it is unclear whether either of them still believes in the reality of their love... Read Lucy Van Cleef's review in the August/September issue.

Hamburg Ballet - Anna Laudere in John Neumeier's Anna Karenina

Viva Maya Gala

EMMA KAULDHAR reviews a tribute to the Soviet ballerina in Cannes

The guest list included some of the most celebrated names on the international gala circuit, and one of the hardest working was Osiel Gouneo, who danced three pieces: Le Corsaire, partnering Lali Kandelaki from Georgia; Broken Heart, choreographed by Maria Daniela González Muñoz, who also performed alongside Gouneo; and Don Quixote with Maria Yakovleva, a former Mariinsky dancer and now a principal dancer with the Wiener Staatsballett. Gouneo, currently working in Munich with Zelensky, was on blistering good form in all pieces, but it is not just his virtuosity that captures the audience: his Cuban flamboyance is now as refined as it is explosive, and he performs all the tricks with dignity and elegance. His ability to decelerate a fast turn into a perfect balance is pure class... Read Emma Kauldhar's report in the August/September issue.

Osiel Gouneo in Don Quixote at the Viva Maya Gala