Cojocaru

You don't just hear the music and see the choreography in Cojocaru's dancing – you feel the catch in Tatiana's throat, the acceleration of her pulse, the hammering of her heart.

Onegin - review Judith Mackrell 2010

He can charge a moment of stillness with a wicked combination of menace, boredom and sex, and as always he is a magnificent partner: in the dream duet at the end of act one, he makes Cojocaru look as though she is literally flying on the wings of her deluded love.

Onegin - review Judith Mackrell 2010

I have seen more technically brilliant performances although in act two, Cojocaru's dancing was so eerily exquisite, her feet barely seemed to touch the floor, but I have never seen a dancer live the role with such intensity.

Guardian young arts critic competition 2011: Our critics' picks 2011

Alina Cojocaru was just 19 and performing her first Giselle, a role that challenges even the most experienced ballerinas.

Guardian young arts critic competition 2011: Our critics' picks 2011

In the mad scene that leads to Giselle's death, Cojocaru's body looked so broken with pain you weren't sure she was acting.

Guardian young arts critic competition 2011: Our critics' picks 2011

But with Cojocaru dancing Tatiana on the same stage, you see the difference between blithe talent and grown-up artistry.

Onegin - review Judith Mackrell 2010

On the opening night, Alina Cojocaru gave a towering performance as Tatiana, sweeping a thrilled audience on huge waves of emotion, while Johan Kobborg's Evgeny was so extreme in his formal decadence as to take the role close to madness.

Stephen Petronio Company; Onegin – review Luke Jennings 2010

It was just over a decade ago that Alina Cojocaru first appeared on the Royal Ballet stage, a tiny dancer whose unfeasible, fairylike delicacy belied the steely brilliance of her technique.

Onegin - review Judith Mackrell 2010

This latest ballet, created for principal dancers Leanne Benjamin, Alina Cojocaru, Edward Watson and Johan Kobborg, is an encounter between present and past, an evocation of the French court of Louis XIV that is evoked through Thomas Adès's setting of music by 18th-century French composer François Couperin.

This week's new dance Judith Mackrell 2010

In the ballerina role, partnered with elegant reserve by Rupert Pennefather, Alina Cojocaru is blue-white perfection, but there are moments when her dancing takes on a sad, secretive edge.

Jewels; The Metamorphosis – review 2011