“It was a hell of a performance.” Marina Harss on Jerome Robbins’ Fancy Free.
Audience applause during the evening recognised that Scarlett’s Hummingbird was the starry centrepiece of the three Paris premieres.
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.
…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.
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…
In my book nobody has ever truly rivalled Christopher Bruce in the role, either for pathos or style, but Luke Ahmet came close.
This book serves as a timely tribute to an incredible man whose vision and dedication to his art has established one of the world’s finest classical ballet systems.
The season began with a high-energy mixed bill which showed the company on sparkling form.
What one does not see much of, at least at first glance, is nostalgia for the motherland. “I never had nostalgia about anything,” Baryshnikov says.
The Honors are America’s highest award for those whose creative triumphs influenced and enhanced American culture. This is a celebration of their outstanding careers and extraordinary talents and appreciation of their unyielding commitment and contribution to the arts.
Tonight’s premiere of Ratmansky’s newest work for American Ballet Theatre, Symphony #9, was cause for celebration. In fact, it left me feeling almost lightheaded, and terribly eager to see it again, as soon as possible.
The highlight of the gala was the seventieth-anniversary performance of Agnes De Mille’s Rodeo, preceded by a short film describing its creation, with archival footage of the hilariously histrionic, diminutive choreographer.
Q: Any regrets?
Ans: “No regrets — I would do it all again the same way.”
Aimée Tsao, watching San Francisco Ballet for over 35 years now, with a general primer on the company and some thoughts on the repertoire they are bring to London in September 2012…
How can a company make good impression with just a few performances of one or two programs? The pieces have to be representative, interesting, and show the company in a the best possible light. It’s not easy, as the recent Lincoln Center performances of Australian Ballet have shown.
Rambert… offers a mix of new commissions with rarely-seen work from their archives. Some items had much more impact than others, though not necessarily the ones you might imagine from the programme.
In a life at the BBC the director, Bob Lockyer, was an outstanding champion of dance for the camera. Now 70, he is still indefatigable in his enthusiasms