Today, when the contemporary ballet scene is dominated by unintelligible symbolism, associations bordering on puzzles, claims on depth that are devoid of any meaning, and the dance is replaced by gymnastics, every new production that appeals to the hearts and minds of people is a primary event.

A.Modestov
Nezavisimaya Gazeta  July 2003

   …And the last premier of the season-"The Waltz of White Orchids"-a two-act ballet based on the works of Remarque, staged by Konstantin Uralsky, the former Russian dancer and choreographer living in America. Contemporary choreographers seldom turn to the full-length ballet form, into which-in-line with our current truncated standards- a two-act ballet now falls. This form demands from the choreographer a broad range of artistic ideas. Konstantin Uralsky has them in abundance. Looking for the ballet equivalent of Remarque's prose, or rather the aftertaste you get from reading his books (everybody has their own), the choreographer daringly uses the full storehouse of his cultural and professional experience. The ballet's musical score the orchestral works of Ravel with French cabaret songs, and neoclassical dancing duets with eccentric cabaret scenes, reminiscent of Fellini's cinematography or the famous mimes, playing tennis in Antonioni's cult movie "Blow Up."

A.Mihaleva
Gazeta Kultura  July 2003

   " The "Snowflakes" dance, beautiful and refined, exemplifies Mr. Uralsky's loyalty to the classical vocabulary. He is never step-poor as he also showed in the program's first half. This was a stylized tango piece, "More Than Two to Tango."

Anna Kisselgoff
The New York Times  December 2002

   Uralsky's easy use of the classical ballet vocabulary and his sense of dramatically lyrical shaping for the solo and group choreography poured forth with a confidence that to give the audience a comfortable oue to observe and follow its passage with interest, and fascination. There is not one way for Uralsky's " Wanderers" to be interpreted but his artful shaping of the individual parts by way of a steadily built momentum made any questions the fresh-eyed public might have more those of wonder than bewilderment. Stravinsky said that musician express nothing particular to everyday life, but only itself. Whether one agrees with this view or not, Uralsky's dance for his little community of "wanderers" expressed things the up-lifted carriage and physically precise moves of ballet can show. And I felt that many in the audience who might never have seen a ballet before must have touched by the essences that were rendered by the dancing to Rachmaninoff in this pretty and mysterious " other" world.

Robert Greshkovic

   "Konstantin Uralsky's training in the Vaganova technique has made him an exemplary exponent in employing its classical purity and strength both in his teaching and choreography."

Don McDonagh,
Senior Editor, Dance Magazine

   " A small regional ballet troupe [Ballet Iowa] suddenly acquired an international repertory, thanks largely to the brilliant stagings of classical showpieces by Mr. Uralsky and his wife, both former Bolshoi Ballet dancers. The production values, especially the costumes, were striking. Mr. Uralsky is attuned to Western esthetics, but has also been enriched by his Bolshoi schooling and experience."

Anna Kisselgoff,
Chief Dance Critic The New York Times

   "Uralsky's choreography for scenes from William Shakespeare's great drama of bloody ambition and great ruin has everything: explosive dramatic movement, flowing lyricism and an inventive, even bewitching use of Shakespeare's witch device."

The Des Moines Register

   "The Carmen Suite" was a smash hit...Uralsky blends lyrical and dramatic choreography, adds a psychological twist by giving Carmen two alter egos, then adds to his multifaceted heroine a Carmen as Toro theme complete with dancer wearing a bull mask."

Des Moines Sunday Register

   "For several years now we have been following the achievements of Irina and Konstantin Uralsky as ballet instructors and artistic directors. This influenced our decision to give their ballet school the accreditation of the Russian Dance Association. Irina and Konstantin, graduates of the Moscow Bolshoi Ballet Academy and the Academy of the Theatrical Arts, received their knowledge of Russian classical ballet traditions and methods of teaching classical dance from the hands of masters. Their work as performers, teachers and directors reflects those fine foundations. We are convinced that their professionalism will guarantee their school's success and will add to the prestige of the Russian classical school of dance. We hope their students will bring us happiness and are looking forward to the possibility of future joint events."

Olga V. Lepeshinskaya,
President of Russian Dance Association
Honorary Dancer of Russian Academician