However, either side of them were the forcefully truthful Mara Galeazzi (the best Olga I can remember, passionate and frustrated) and Laura Morera as flirtatious Irina, with Thomas Whitehead and Valery Hristov drawing attention as her often interchangeable boyfriends.
- Ismene Brown about Winter Dreams (The Arts Desk, Oct 2010)
Mara Galeazzi and Laura Morera were heartbreaking sisters.
- Sarah Crompton about Winter Dreams (The Daily Telegraph, Oct 2010)
...and for Mara Galeazzi, all compassionate understanding as Olga.
- Clement Crisp about Winter Dreams (The Financial Times, Oct 2010)
Mara Galeazzi dazzles as the Firebird, conjuring colourful scenes of Russian folklore from the dramatic Stravinsky score.
- Katie Colombus about The Firebird (The Stage, May 2009)
'Firebird', however, soars. Mara Galeazzi is feral and imperious in the title role, Gary Avis is at once cartoonish, uncanny and very funny as the evil Kostcheï, and the corps (wayward in Sylphides) are terrific.
- Mark Monahan about the Firebird (The Daily Telegraph, May 2009)
Mara Galeazzi is a powerful Firebird, uncompromising in her emotions as in her dance: "I want the beat of mighty wings," said Fokine to Karsavina, great original of the role, and this Galeazzi provides.
- Clement Crisp about the Firebird (The Financial Times, May 2009)
... Mara Galeazzi, whose Mary Vetsera is a terrifying blend of the naive and depraved. Her closing pas de deux with Rudolf is a harrowing escalation of blind, inarticulate excitement, yet there remains a spark of innocence.
- Judith Mackrell about Mayerling (The Guardian, April 2007)
As Mary, a determined Mara Galeazzi fuels Watson’s dementia even as she tries to heal it. It's a tough, draining performance, and it’s one you will want to see.
- Debra Craine about Mayerling (The Times, April 2007)
Mara Galeazzi was memorable for her perfectly poised quick-change balances and a smile that said: "This might look impossible but look, I can do it!"
- Jenny Gilbert about The Sleeping Beauty (The Independent, May 2006)
Some terrific performances, especially from Mara Galeazzi as the dreamy damaged First Sister.
- Judith Mackrell about My brother, my sisters (The Guardian, November 2005)
Mara Galeazzi ravishingly danced in the bedroom duet from MacMillan's Manon.
- Gavin Roebuck about Manon in Ballet Moves (The Stage, August 2005)
Viacheslav Samodurov, the leading athlete, falls solidly, brainlessly in love with Mara Galeazzi’s androgynously seductive “pageboy/girl” - who is perfect and resembles Nijinska.
- David Dougill about Les Biches (The Times, June 2005)
Mara Galeazzi a perfect Modigliani lady-boy in blue.
- Ismene Brown about Les Biches (The Telegraph, June 2005)
The Girl in Blue was danced with cool finesse by Mara Galeazzi, who bears a curious resemblance to the ballet's creator, Bronislava Nijinska.
- Luke Jennings about Les Biches (The Guardian, June 2005)
Mara Galeazzi, making her debut as the Chosen One in MacMillan's Rite of Spring, portrayed a tragic puppet at the mercy of the unrelenting hordes with a heartfelt poignancy.
- Emma Manning about The Rite of the Spring (Dance Europe, June 2005)
Galeazzi has lovely rose petal technique…
- Leigh Witchel about Voices of spring in New York (July 2004)
In Mara Galeazzi's interpretation, she (Mary Vetsera) is his evil angel…
- Jann Parry about Mayerling (The Observer, June 2004)
Mukhamedov vowes the eager, flexing, lovestruck body of Mara Galeazzi…
- Ismene Brown about Mayerling (The Telegraph, June 2004)
Mara Galeazzi (in an impressive debut) shines with high spirits and fleet dancing in the happy days, then sears us with her dramatic intensity as the crop-haired Anna in the sanatorium, consoled by her mysterious husband.
- David Dougill about Anastasia (The Times, May 2004)
Mara Galeazzi is appealing and intelligent as the adolescent Marie, growing up quickly for the Ivanov grand pas de deux with her Prince, the stylish José Perez…
- David Dougill about Nutcracker (The Times, December 2003)
Mara Galeazzi brought the character into focus: a bookish, oversensitive child, turning first into a coltish teenager and then a grown-up princess.
- Judith Mackrell about Nutcracker (The Guardian, December 2003)
Mara Galeazzi is every bit as disturbing as MacMillan could have intended… her crotch-splitting contortions arousing.
- Jenny Gilbert about Judas Tree (The Indipendent, May 2003)
Darcey Bussell, Marianela Nunez and Mara Galeazzi were three splendid muses, totally at ease with the demanding intricacies of this 1928 reading of classical antiquity.
- Giannandrea Poesio about Apollo (The Spectator, April 2003)
Galeazzi always finds the wit in Balanchine's works.
- Luke Jannings about Apollo (The Telegraph, April 2003)
Hers was a dramatically rounded character, ably partnered by Adam Cooper, the perfect cad.
- Jann Perry about Onegin (The Observer, July 2002)
Mara Galeazzi, as Tatiana, found the most triumphantly coherent route through.
- Judith Mackrell about Onegin (The Guardian, July 2002)
Mara Galeazzi is relentless, transfixing her victim with the glacial beauty of her stare.
- Nadine Meisner about Gamzatti in La Bayadère (The Indipendent, February 2002)
Gamzatti was Mara Galeazzi, and when she was acting out the villainy of the haughty, greedy princess, her cold cobra stare was implacable. Corella's Solor didn't stand a chance.
- Judith Mackrell about Gamzatti in La Bayadère (The Guardian, February 2002)
Mara Galeazzi danced the "badly guarded daughter" of the title as a witty scamp with nonstop energy.
- Alexandra Tomalonis about Fille mal gardée (The Washington Post, June 2001)
Mara Galeazzi, dancing Firebird, knew exactly the kind of power she wanted to wield. Giving a ferocious forward thrust to the jetés with which she claims the stage, she flares into the ballet like a bird of prey. This Firebird is not a creature of flickering mystery but of almost viciously glamorous snap. With her long, radically jointed limbs Galeazzi defines a glittering geometry within the choreography, tensing her arms into extreme angles that frame a face of dark-eyed fury. The harshness of her interpretation is given nuance, though, by her attentive ear to the music and by the dramatic abruptness with which she surrenders to capture. When Galeazzi's spirit is broken, her body is left shockingly limp.
- Judith Mackrell about Firebird (The Guardian, May 2001)