American Ballet Theatre – Spring Gala – New York
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.
San Francisco Ballet – Cinderella – San Francisco
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.
Christopher Wheeldon – Choreographer
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…
American Ballet Theatre – Symphony in C, Moor’s Pavane, Symphony #9 – Washington
…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.
National Ballet of Canada – Romeo and Juliet – London
The result is oddly old-fashioned – even more so than John Cranko’s version, which the Canadians had performed since 1964.
American Ballet Theatre – Hong Kong Arts Festival Season – Hong Kong
The season began with a high-energy mixed bill which showed the company on sparkling form.
San Francisco Ballet – From Foreign Lands, Scotch Symphony, Golden Hour – San Francisco
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.”
Royal Ballet – Apollo, 24 Preludes, Aeternum – London
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.
Teresa Reichlen – New York City Ballet – Principal
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.
Carla Korbes – Pacific Northwest Ballet – Principal
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.
Nancy Reynolds – George Balanchine Foundation – Director of Research
An in-depth interview with the lady who helps bring Balanchine back…
New York City Ballet – Paz de la Jolla premiere and bill – New York
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 – Royal Danish Ballet – Principal
Gudrun Bojesen, the Royal Danish Ballet’s leading classical ballerina, is at an interesting stage of her career…
Richard Alston Dance Company – Roughcut, Unfinished Business, A Ceremony of Carols – New York
…it’s remarkable how satisfying the old-fashioned virtues of structure and form can be.
Interview: Herman Cornejo – American Ballet Theatre – Principal
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.
Australian Ballet – 50th Anniversary Gala – Melbourne
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.
Liam Scarlett appointed first ever Royal Ballet Artist in Residence
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.
Sadler’s Wells – Spring / Summer 2013 Programming
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.
