15 February 2026.
London Coliseum, London.
“An opulent tribute to the timeless beauty of ballet, uniting the world’s most luminous stars from its grandest stages to mark the event’s 20th anniversary.”
Casting an eye over the programme of the Ballet Icons Gala reveals an outstanding selection of dancers ready to perform both classical and contemporary short works or excerpts tonight. We begin with a short film and recorded congratulatory messages from tonight’s dancers and some artistic directors including Kevin O’Hare of The Royal Ballet, and then a joyful opening number as Iana Salenko and Daniil Simkin performed Le Corsaire with beautiful expanse and comfortable confidence with one another. Simkin was particularly flamboyant and the audience appreciative of his abundant power in the air.
Asylum followed, a UK premiere choreographed by Antonia Franceschi. Edward Watson explored the parameters of the large central spotlight via angular and emotive movement. Repetition, and agitation followed by softer, sinking motions conveyed the intended exploration of the ritual and tribal connections to nature. Though, at times, the music seemed to command more than the choreography was offering.
In emotional contrast, Anna Rose O’Sullivan and Reece Clarke flew onto the stage and delivered a short but bright and passionate concert piece, Spring Waters, before a turquoise wash on the Cyc. I loved the change in dynamics as they were followed by dark and shadowy Finding Light – a deeply loving duet; Lucía Lacarra on pointe in a white fading to grey dress and Matthew Golding in grey shirt and trousers. Connected choreography carefully intertwining light and shade with inspiring and unexpected moments. They melted into a central spotlight to finish.
I was still thinking about it as Diana and Actaeon began with a serious and tense looking Madeline Woo and Francesco Gabriele Frola. A fabulously powerful entrance, but not much connection or rapport between these dancers this evening delivering this gorgeously technical work. A world premiere danced by Sarah Chun followed. Uhuru was choreographed by Mthuthuzeli November and an electronic score commenced with a rainmaker sound. Some interesting inflections and responses though choreography overall slightly underwhelming, ending in a leap towards the audience landing in blackout.
This next duet felt very tangible as Eleonora and Abbagnato and Paul Marque faced each other in Le Parc. Bare foot in loose clothing inspired from the Age of Enlightenment. A bubbling range of feelings; he is still and resolute as she is expressive and emotional, moving his arm and body with her. He responds and there was heavy yet light passion between them throughout. A highlight being the long kiss, as Marque spins arms outstretched with Abbagnato first on tiptoes and leaning into the kiss, lifts her legs from the floor. He carried her off stage at the end. Very popular with the audience.
A spectacular end to Act 1 as Vadim Muntagirov and Fumi Kaneko leaped onto the stage to ready applause for the Black Swan pas de deux. They were perfectly matched in energy and execution. Kaneko as Odile alight with beguiling trickery while Muntagirov as Seigfried was transfixed and in love. A thousand tiny nuances passed between them, transfixing our eyes to their every move.
A perfectly loving and bright opening to Act Two with Margarita Fernandes and entertaining us with their gorgeously clean and classical work in Tchaikovsky’s Pas de Deux. Elizabeth Lynch sang mezzo-soprano to accompany the world premiere Postscript next, created especially for the 20th anniversary of the Ballet Icons Gala. James Pett and Travis Clausen-Knight both choreographed and danced the duet together. I enjoyed the representation of parting; attempting to go their separate ways, individual movement that became synchronised and eventually melting messily into one another again. It was an interesting exploration of both love and pain, finishing with one partner falling and the other moving ahead alone.
Maia Makheteli was enchanting in a slow, deliberate and love-filled duet from Raymonda with Young Gyu Choi. The choreography arced emotionally with the luscious music. Simple, peaceful and reverent. Nicoletta Manni and Timofej Andrijashenko thrilled in this modern representation of the Nutcracker duet choreographed by Jean-Christophe Maillot. Addictive watching.
Chroma, by Wayne McGregor, was performed spiritedly tonight by Sae Maeda and Marcelino Sambé. And Don Quixote, bathed in red light, was a rich and fitting end to tonight’s gala. Marianela Nύñez and Patricio Revé delivered a playful, teasing and brilliantly entertaining duet.
Tonight there was a slightly disrespectful audience; whispering, a phone ringing, even some kind of loud disagreement. An usher repeatedly asking the same person to stop filming, and several late-comers to both Acts! This very carefully collated diverse celebratory programme concluded with bows and presentation of selected awards by Founder, CEO and Artistic Director Olga Balakleets.
By Louise Ryrie of Dance Informa.
