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January 19, 2015


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I still haven't recovered from that performance, Haglund. Lopatkina is the embodiment of perfect classical proportions and then some--the long arms and slim tapered legs that were slimmer than every other dancer onstage seemed to me like a miracle that comes along maybe once every hundred years. And what she does with that body! I agree with everything you said, and I would add that her musicality was such that her port de bras just kept going and going until the last possible moment of every musical phrase. She didn't give you a moment to take your eyes off her. To my eye she used the music differently than every other dancer I've seen in this role, and it was perfect. Still, I do think that while Ulyana owns the role of Odette, it's Veronika who owns the role of Odile (admittedly, I haven't seen any European companies dance Swan Lake in recent years) simply by force of her seductiveness. I couldn't help but think of her (V's) flashing eyes, her evilness come to life. But for sublime classical perfection in every dimension, sheer technical prowess (those fouettes moved maybe an inch, if at all), the wide range of emotional expression, as well as perfect rapport with her Siegfried, Lopatkina left me in awe.

Angelica, ITA about Ulyana's musicality - it was exceptionally beautiful and heightened the viewer's response to the music. I've never seen so much meaningful detail in the portrayal of Odette.

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