Galas aren't always the easiest of watches; endless pas de deux with bravado at the forefront of proceedings. That said - some rosters are too good to pass on…hence why I attended the Ballet Icons Gala 2025 at the London Coliseum on March 9.
The programme was verging on endless, as is often the case, therefore it's not possible to discuss each and every offering here, so I'll share some of the highlights in relation to consummate dancing and appreciated repertoire choices.
William Bracewell and Marianela Núñez of The Royal Ballet opened the evening in The Sleeping Beauty 3rd Act pas de deux. Both encapsulated the expected Royal Ballet level of precision and elegance, and actually looked in love, which isn't always the case.
Iana Salenko and David Motta Soares of Berlin State Ballet were refined in Delibes Suite by José Martinez, but I found the choreography on the busy side.
Maria Kochetkova and Sebastian Kloborg in Once I had a Love were the first modern interlude and set the standard high. Both articulate dancers, they offered weight and purpose to Kloborg’s original movement language.
Madison Young of Bavarian State Ballet and Victor Caixeta of Dutch National Ballet brought some much needed individuality to the BLACK SWAN pas de deux. Young’s dancing is full of risk to be savoured, and Caixeta is the ideal mix of nobility and oomph.
Photo Credit: Jack Devant
Inès McIntosh and Shale Wagman of the Paris Opera Ballet in Le Corsaire offered highs and lows. McIntosh didn't have the securest of performances whereas Wagman was in his element. All dancers can jump, but Wagman positively soars.
Travis Clausen-Knight, James Pett and former Paris Opera Ballet Étoile Marie-Agnès Gillot suggested intrigue in A Stranding. Choreographed by Clausen-Knight and Pett, it was an honour to see Gillot dancing, and Pett continues to be a performer of poetic nature.
Giorgi Potskhishvili of Dutch National Ballet and Mayara Magri of The Royal Ballet closed the first half in Vakhtang Chabukiani's/Mikhail Messerer's Laurencia - and it's a dream choice for this dream couple. Both virtuosic dancers, their ease and confidence were a sight to behold.
Timofej Andrijashenko and Nicoletta Manni of La Scala Ballet did admirable work in Victor Gsovsky's Grand Pas Classique. Andrijashenko is an incredibly clean and polished dancer, likewise Manni, but at times her rendition lacked the chicness that Classique requires.
Osiel Gouneo of the Bavarian State Ballet and Maria Kochetkova brought the fun element to Balanchine’s Rubies. They both made the most of the precarious nature of the choreography, and had an obvious, mutual connection.
António Casalinho and Margarita Fernandes of the Bavarian State Ballet performed Agrippina Vaganova's/Vakhtang Chabukiani’s Diana and Acteon. Fernandes had the odd, early mishap but recovered well, and Casalinho was riding the pyrotechnic wave. His dancing was undoubtedly the most crystalline of the entire evening, and though I'm not a numbers person…since when did a triple sissonne en tournant become an actual thing? Unbelievable.
Mayara Magri and Matthew Ball of The Royal Ballet totally changed the mood with Ball's To & Fro. It's a tasteful work that confirms Ball’s capability in relation to choreographic structuring and movement language with evident themes and motifs. One wonders when he'll be given a commission at his home theatre…
Chloe Misseldine, the much discussed principal of American Ballet Theatre performed Giselle Act 2 with Reece Clarke of The Royal Ballet. One can understand Misseldine’s quick rise to fame, as her dancing is full of mysticism, endless line and emotional projection. Clarke danced with more abandon than usual, and it works well for his Albrecht.
Maia Makhateli and Timothy van Poucke of Dutch National Ballet closed the evening with pure class in Don Quixote. I've never seen van Poucke before, and he seems like a solid partner and a Basilio with quiet fire. Makhateli, it has to be said, is on another level compared to her contemporaries. Her work is both technically exquisite and full of passion and pizazz. And as for her fan work? An artform unto itself.
Photo Credit: Jack Devant
As far as galas go, the production values were pretty slick which is appreciated, but the performance could have been a tad shorter. I'd also suggest that the classical repertoire needs a little more range. Six of the pas de deux require the females to do fouette turns: possibly too much of a good thing?! Some lyrical, or dramatic work would have been great to see, so fingers crossed for next year. But a very worthwhile visit regardless, to see where all the hard work goes and the generally, very high standard of dance out there.
Ballet Icons Gala 2025 was performed at the London Coliseum on March 9
Main Photo Credit: Mara Galeazzi and Jason Kittelberger in Toujours, Jack Devant
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