Fall For Dance Festival – Program 5: Wayne McGregor | Random Dance, Pontus Lidberg Dance, Aakash Odedra Company, Sarasota Ballet – New York
The word transcendent gets tossed around a lot, overused, especially in the performing arts. But if one performer deserves it at this year’s Fall For Dance Festival, it is Aakash Odedra.
But the true revelation – and the main reason to see this production – is Alessandra Ferri.
Full Details of the 2014 / 15 Season…
No-one could fail to be impressed by the versatility of ABT’s dancers and by the diverse repertoire they brought. They did themselves, their company and their country proud.
…, the first-night Juliet, Diana Vishneva, brought her understanding of MacMillan’s ballet …to Lavrovsky’s older version.
It is even more disappointing that the troupe should open its run with a Swan Lake so lackluster… It’s not the dancers’ fault. At every level, the Bolshoi dancers move with thrilling force and fullness.
The three dancers who took their leave this week – Sascha Radetsky, Yuriko Kajiya and Jared Matthews – are all soloists. Each led a different cast of the company’s 1997 production of Coppélia.
Who but Frederick Ashton could turn a marital spat into one of the most delightful, touching works in the ballet repertoire? His 1964 The Dream is precisely that…
American Ballet Theatre’s Swan Lake is looking tired …bogged down by reams of flavorless dancing.
Few nineteenth-century story ballets are as satisfying as Giselle, with its simple and poetic plot, compact structure and starkly contrasting moods. This week I watched four Giselles, with four distinctly different casts…
To fully enjoy Ashton, one has to be willing to acquiesce to one’s own softer impulses, a sense of wonder and perhaps a little nostalgia, and to surrender the loveliness of small things.
David Hallberg is a rarity in today’s classical ballet. Tall, lean and strikingly handsome, with pure classical line and impeccable dancing prowess, he is a genuine danseur noble.
Both as a tribute to Ashton and as a coming-out party, it’s hard to imagine how the festival could have gone better. The ballets are in good hands.
The gala formula really worked. An eclectic selection of dances – six duets and three short ballets – offered something for almost every taste…
The Sunday matinee performance I attended had all the prerequisites for huge success, featuring world-class principals Paloma Herrera and Ivan Vasiliev, plus a superb supporting cast.
Twyla Tharp loves Americana. She’s made dances to Shaker hymns and to the crooning voice of Frank Sinatra, and whipped up steps to the super-sophisticated piano tunes of Willie “The Lion” Smith. So it’s no surprise…
…an unusual choice of bill. Unusual firstly as the work of two women choreographers, and secondly in that it gives audiences a rare chance to see ballets from the extremely interesting and creative period of the 1940’s and 1950’s, now sadly neglected.
The company embraces the turn-of-the-20th-century Cecchetti Method, more concerned with anatomic integrity than with razzle-dazzle. Cecchetti’s motto is “purity of line, simplicity of style.” You get the idea.