. This isn't a fully-fledged comeback, alas – although the age-defying Acosta puts on a pretty astonishing display. We didn't doubt that he would have maintained his virile, megawatt charisma that makes ballet fans go weak at the knees, but not this level of strength and technique. Acosta opens with George Balanchine's Apollo, which he first performed here in 2007 with Darcey Bussell, and, even if the jumps aren't quite as high, he's still exemplary casting as the artistic Greek god communing with the Muses. He handles three partners with aplomb, but his reunion with Marianela Nuñez is particularly lovely – their mutual affection fuels a warm, sparky duet, during which Acosta nonchalantly balances Nuñez on his neck. They're equally rapturous in a dreamy Swan Lake pas de deux. Acosta isn't just an assured, generous partner: his prince is emotionally eloquent, whether cradling the swan in his arms or reaching out desperately, already lost without her. The lifts seem to float, untethered from gravity. Acosta later taps into a more sensual desire in Kenneth MacMillan's Manon, tossing Nuñez around the bedroom with passionate abandon. The pair had never performed this work together before now – it's well worth the wait. Sidi Larbi Cherkaoui's delicate Mermaid was created on Acosta as he transitioned from classical to contemporary. Embodying the titular creature navigating a new world, the otherworldly Laura Rodríguez pours like liquid through his grasp. As her would-be saviour, Acosta is full of empathy, awe and longing. Fuelled by Woojae Park's atmospheric music, it's a soulful wonder.){kind=link}
The beloved former Royal Ballet star has lost none of his strength, star power or virility as he celebrates his 50th with a 5-night gala run
He’s still got it! The Royal Ballet’s retired superstar Carlos Acosta celebrates his 50th birthday by returning to Covent Garden for a five-night gala run (well, it’s certainly more original than buying a sports car). This isn’t a fully-fledged comeback, alas – although the age-defying Acosta puts on a pretty astonishing display.
We didn’t doubt that he would have maintained his virile, megawatt charisma that makes ballet fans go weak at the knees, but not this level of strength and technique.
Acosta opens with George Balanchine’s Apollo, which he first performed here in 2007 with Darcey Bussell, and, even if the jumps aren’t quite as high, he’s still exemplary casting as the artistic Greek god communing with the Muses. He handles three partners with aplomb, but his reunion with Marianela Nuñez is particularly lovely – their mutual affection fuels a warm, sparky duet, during which Acosta nonchalantly balances Nuñez on his neck.
They’re equally rapturous in a dreamy Swan Lake pas de deux. Acosta isn’t just an assured, generous partner: his prince is emotionally eloquent, whether cradling the swan in his arms or reaching out desperately, already lost without her. The lifts seem to float, untethered from gravity. Acosta later taps into a more sensual desire in Kenneth MacMillan’s Manon, tossing Nuñez around the bedroom with passionate abandon. The pair had never performed this work together before now – it’s well worth the wait.