Tag Archives: Carlos Acosta


This film is part of the Moro Spanish Film Festival. Ballet lovers will love this extraordinarily revealing and intimate film based on the life of Cuban premier danseur Carlos Acosta, the first black dancer to perform some of the most famous ballet roles.( eg in Macmillan’s Romeo and Juliet , Albrecht in Giselle and Siegfried in Swan Lake for the Royal Ballet) . English National Ballet,  Houston Ballet , American Ballet Theatre and the National Ballet of Cuba .In June 2008 he guested with the Australian Ballet . He was a permanent member of The Royal Ballet between 1998 and 2015 and celebrated his farewell after 17 years at The Royal Ballet, dancing his last performance in November 2015 in Carmen which he both choreographed and starred in. In January 2020 he will succeed David Bintley as artistic director of the Birmingham Royal Ballet . The film also features Acosta’s Cuban dance company, Acosta Danza .

Acosta is also an author – the film is based on his autobiography, A Long Way From Home – a Cuban Dancer’s Story . as well as fiction, and Acosta has also produced a dance work loosely based on his life , Tocororo . YULI is a blend of biographical drama , use of historical footage of Acosta performing ,and a contemporary dance piece
The film jumps back and forth between ‘now’ , Acosta overseeing classes and rehearsals and flashbacks inspired by the memories that the scrapbooks his father kept conjure up . Continue reading YULI : THE STORY OF A REMARKABLE DANCER


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Carlos Acosta is one of the most well known dancers of our times, famous internationally. This book is published to mark Acosta’s farewell season, and is a very exciting retrospective seeking to preserve and capture most of what are regarded as his greatest performances with The Royal Ballet.

Released in Australia by Currency Press, the book is a tribute to his popularity and success with international audiences since 1998 .

A large, beautiful coffee table  book it documents Acosta’s seventeen year career with the Royal Ballet. There are over 150 assorted photos of Acosta on stage and in rehearsal. The photos are spectacular and show him in dynamic, striking poses from his performances, in leading roles, as Basilio in Don Quixote, as Des Grieux in Manon, Romeo in Macmillan’s Romeo and Juliet, Albrecht in Giselle, and Siegfried in Swan Lake in which he danced the principal roles. Continue reading CARLOS ACOSTA @ THE ROYAL BALLET


Carlos Acosta and Natalia Osipova shine in the Royal Ballet's revival of GISELLE, part of this year's Palace Opera and Ballet season
Carlos Acosta and Natalia Osipova shine in the Royal Ballet’s revival of GISELLE,

Quick! Run! Book now if you haven’t already to catch this extraordinary screening of Natalia Osipova and Carlos Acosta in the Royal Ballet’s GISELLE which has just finished a sold out season at the Royal Opera House in London. Regarded as the epitome of Romantic ballet, GISELLE, created by Jean Coralli and Jules Perrot in 1841, is the story of a village girl who loves but is betrayed by Count Albrecht, a nobleman in disguise .

This is the very traditional Peter Wright version (he is interviewed and in the audience to watch it and brought on stage for curtain calls at the end) that has been around for about thirty years .Yet it feels amazingly vibrant and fresh. It is a clear and emotionally gripping performance .The sets and costumes in Act 1 are in autumnal russet colours, in Act 2 we see an eerie, misty, moonlit forest glade with Giselle’s grave marked by a rough cross.

Under the dynamic baton of conductor Boris Gruzin, we see the orchestra who are terrific and play Adam’s lilting score eloquently.

Former Bolshoi dancer Natalia Osipova who has just joined the Royal Ballet this season as Giselle is superb, playing this ‘Hamlet of the Ballet’, a very challenging test for ballerinas since its first performance. In Act1 Osipova convinces as the naive, delicate young peasant maiden in love with Albrecht. She is delicate and shy and her frail heart is emphasised. Yet she is bright and joyous at first and reassures anxious Berthe, her mother. In Act 2 she is like a moonbeam or gossamer.

The opening flirting pas de deux for Giselle and Albrecht is glorious and her ‘mad scene’ is shattering. In both acts we admire her astonishing elevation and ballon. Her appearance and first whizzing solo in Act 2 is magnificent, – fast and yet also blurry like delicate mist. Simultaneously she has incredible control in her adagio and a beautiful ‘line’. She pleads for Albrecht’s life in Act2 with delicate despair.

Continue reading GISELLE