"Alexei Ratmansky" tag
Jenifer Ringer and Gonzalo Garcia in Dances at a Gathering.© Paul Kolnik. (Click image for larger version)

New York City Ballet – Jenifer Ringer’s farewell, Dances at a Gathering, Union Jack – New York

Some dancers leave us wanting more. That’s how Jenifer Ringer’s retirement from New York City Ballet feels; we’ve seen so little of her in recent seasons, and she’s dancing so well.

Natalia Osipova and Carlos Acosta in Giselle.© Dave Morgan, courtesy the Royal Opera House. (Click image for larger version)

The Royal Ballet – Giselle, live cinema broadcast with Osipova, Acosta – London

The Royal Ballet are pushing their cinema relay performances as a way of getting ‘out there’- so what’s it like to see Osipova and Acosta out in the sticks? Margaret Willis gives her view and talks to others on the experience…

Dusty Button in William Forsythe’s The Second Detail.© Dave Morgan. (Click image for larger version)

2013 Dance Memories – London

Lynette Halewood with her personal selection of London dance memories this last year…

The Snowflakes in George Balanchine's The Nutcracker.© Paul Kolnik. (Click image for larger version)

The Nutcracker – from New York City Ballet, American Ballet Theatre and Gelsey Kirkland Ballet – New York

So far this season I’ve seen three “traditional” Nutcrackers: Ratmansky’s version for American Ballet Theatre, Gelsey Kirkland’s, and the familiar and much-loved 1954 staging by George Balanchine for New York City Ballet. All three have their charms…

Alessandra Ferri and Herman Cornejo in Martha Clarke's Cheri.© 2013 Joan Marcus. (Click image for larger version)

Martha Clarke Takes on Colette’s Chéri + Herman Cornejo interview

Novels are treacherous terrain for choreographers. So much of what draws us into a book and imprints itself in our imagination …is almost impossible to convey in the language of the body.

Christopher Bordenave in Idan Sharabi's Spider on a Mirror.© Sandy Lee. (Click image for larger version)

Zhukov Dance Theatre – Enlight, Spider on a Mirror – San Francisco

At times the choreography doesn’t seem to fit this space… Nonetheless, the dancers do a remarkable job with what they are given.

Veronika Part and Cory Stearns in The Moor's Pavane.© Gene Schiavone. (Click image for larger version)

American Ballet Theatre – Theme and Variations, The Moor’s Pavane, A Month in the Country, Piano Concerto #1 – New York

On Sunday, American Ballet Theatre’s two-week fall season draws to a close. By most measures, it’s been a success…

Polina Semionova and James Whiteside in Bach Partita.© Gene Schiavone. (Click image for larger version)

American Ballet Theatre – Bach Partita, Gong, The Tempest – New York

Throughout the Bach Partita, Tharp’s movement is technical, precise, and highly articulated. As with Balanchine, the bodies are always distinct, framed in space.

American Ballet Theatre in Les Sylphides.© Gene Schiavone. (Click image for larger version)

American Ballet Theatre – Les Sylphides, Clear, Theme and Variations – New York

It’s good to see the company perform Sylphides again after a hiatus of eight years. The style hasn’t eroded. …The dancers believe in it.

American Ballet Theatre in The Tempest.© Marty Sohl. (Click image for larger version)

American Ballet Theatre – Opening Night Gala: The Tempest (premiere), Theme and Variations, Aftereffect – New York

Fashioning a ballet out of The Tempest is no small endeavor. How does one distill Shakespeare’s rather complex play into forty-six wordless minutes….

San Francisco Ballet in Morris' Beaux.© Erik Tomasson. (Click image for larger version)

San Francisco Ballet – From Foreign Lands, Beaux, Classical Symphony and Symphonic Dances – New York

In its second mixed bill here in New York, San Francisco Ballet once again impressed with its vitality and the depth of its bench, as well as with its pleasantly unified look.

San Francisco Ballet in Wheeldon's Ghosts.© Erik Tomasson. (Click image for larger version)

San Francisco Ballet – Trio, Ghosts and Borderlands – New York

San Francisco Ballet is in town for two weeks, and on the evidence of opening night, this should be an invigorating visit. The company looks to be in top form.

Susan Jones.© Sarah Sterner. (Click image for larger version)

Susan Jones – Ballet Mistress, American Ballet Theatre

My father asked my original teacher in Rockville, Ms. Hood, whether it was viable for me to become a dancer, and she said she thought I could, even though I wasn’t blessed with beautiful legs and feet. But I had a lot of other assets…

Rocking Tyler Angle to sleep in Namouna.© Paul Kolnik. (Click image for larger version)

New York City Ballet – Spectral Evidence, Soirée Musicale, Namouna – New York

One feels as Débussy did when he wrote, at the end of the nineteenth century, that “amid too many silly ballets, Lalo’s Namouna is something of a masterpiece.”

Juliet Burnett in rehearsal for Paquita.© Lynette Wills. (Click image for larger version)

Juliet Burnett on Injury and Rehab – part 1

Juliet Burnett (a Senior Artist with Australian Ballet) is in unchartered territory – injured and offstage for the first time in over 10 years. We are following her rehab: a fascinating insight into the private reality of dancers’ lives…

Leanne Stojmenov in Cinderella.© Jeff Busby. (Click image for larger version)

Australian Ballet – Alexei Ratmansky Cinderella premiere – Melbourne

This Cinderella, the hotly anticipated centerpiece of the Australian Ballet’s 2013 season, is sensationally, luxuriantly, and extravagantly beautiful…

Clifton Brown and Kana Kimura in Lang's I.N.K..© Takao Komaru. (Click image for larger version)

Ballet v6.0 Festival – Whim W’Him, BalletCollective and Jessica Lang Dance – New York

The Ballet v6.0 Festival has just been on at New York’s Joyce Theater and Marina Harss was there for. So where are young choreographers taking contemporary ballet…?

Denis Medvedev and Elena Bukanova (King and Marie Antoinette) in The Flames of Paris.© Dave Morgan. (Click image for larger version)

Bolshoi Ballet – The Flames of Paris – London

“Alexei Ratmansky’s Flames of Paris is a lot like Matthew Bourne’s Swan Lake…” starts Jann Parry’s review…

Oksana Bondareva, Ivan Vasiliev together with Angelina Vorontsova and the company in The Flames of Paris.© Stas Levshin, courtesy the Mikhailovsky Ballet. (Click image for larger version)

Mikhailovsky Ballet – The Flames of Paris – St. Petersburg

There is a lack of egotism to Messerer’s work that is immensely appealing, too: unlike Nureyev or Grigorovitch, he never appears to be coercing the music or the steps into fitting his idiosyncratic vision.

Alexei Ratmansky.© Fabrizio Ferri. (Click image for larger version)

Alexei Ratmansky – Balletic Musings, a Continuing Conversation

Do you perceive a difference between the musicality of American dancers and that of Russian dancers? AR: There is a huge difference in the musicality. I often found Russian dancers unmusical… But they have other qualities…

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