Symphony in C, a luminous outpouring of legs and arms, crisp geometries, bobbing rhythms, and articulate patter-like conversations for the feet, is a vivid reminder of why one goes to the ballet at all. Luminosity and classical logic, laced with wit and intelligence.
If extravagant productions are the way to bring in new audiences and fill the till then they are justified for those reasons alone. However, they don’t necessarily leave a rich legacy for future generations.
Choreographer Christopher Wheeldon is currently at the San Francisco Ballet preparing for the American premiere of his Cinderella. He has a rehearsal in forty-five minutes so we quickly set off to discuss his latest full-length ballet and many other things…
…with choreographic masterpieces by George Balanchine and José Limón and a Washington D.C. premiere of Alexei Ratmansky’s new work, this ABT program was in every way a balletomane’s dream come true.
The result is oddly old-fashioned – even more so than John Cranko’s version, which the Canadians had performed since 1964.
20 pictures by Dave Morgan…
The season began with a high-energy mixed bill which showed the company on sparkling form.
From Foreign Lands: “This amusing, yet subtle send-up of classical ballet is rewarding in its expertly-shaped choreography, and made all the more appealing by the slight wackiness of the costumes and visual jokes.”
This triple bill, with two world premieres, shows how ably choreographers 85 years apart can refresh the language of classical ballet without distorting it beyond recognition.
27 pictures by Dave Morgan…
Teresa Reichlen – known as Tess by friends and colleagues – is an immediately striking dancer: tall, pale, preternaturally serene. She could be a Madonna in a painting by Botticelli.
Now thirty-one Carla Korbes has grown up to become one of America’s most remarkable ballerinas. Her recent performance of Terpsichore’s duet with Apollo at the Guggenheim was one of the most touchingly natural and innately musical interpretations I’ve seen.
It’s a good thing indeed when a visit to the ballet turns out to be a night full of surprises, all of them good.
Gudrun Bojesen, the Royal Danish Ballet’s leading classical ballerina, is at an interesting stage of her career…
…it’s remarkable how satisfying the old-fashioned virtues of structure and form can be.
Well, performing for me is really about that experience of giving to the audience. In the studio you work and perfect things, you collaborate with your partner, but for me it’s about what happens on the stage, the ability to give something, to your partner, to the audience.
It was a program that harkened back to the big international Galas of previous years, as well as a nice reference to the company’s first years, when artists including Sonia Arova, Erik Bruhn, Margot Fonteyn and Rudolf Nureyev guest-starred.
Kevin O’Hare, Director of The Royal Ballet, announced today that First Artist Liam Scarlett is appointed the first ever Artist in Residence of The Royal Ballet, a position that will allow him to focus solely on his choreographic work.
It’s the name of the game that one does not necessarily appreciate all plans (or indeed how they crystallise out in practice) but I have to say that Sadler’s Wells set a benchmark re new work/experiences and for where you want a progressive art to be.