The New York City Ballet spring season is off to the races with a week devoted to George Balanchine, specifically the “black-and-white” ballets that for many have come to define his style.
Too much Chopin? Perhaps.
Vu-An writes in the programme that he has chosen the two ballets Soir de Fete and Pas de Dieux to make up an entertaining and enjoyable programme for the festive season. However, he has chosen two very contrasting and rather curious works…
Sutton was originally asked to write a brief account of Markova’s career for the Gotlieb Centre but soon realised that her subject’s life, personal and public, was so fascinating that she undertook a substantial biography
Tina Sutton’s book “The Making of Markova: Diaghilev’s Baby Ballerina to Groundbreaking Icon” is about to be released in paperback – Jann Parry talks to Sutton about unearthing one of the greatest ballerinas of the 20th century…
Lloyd has written widely on English composers and is meticulous in combing together many fragmentary impressions of Lambert. The book weighs over 1.5 kilos, 419 pages of small print, most heavily annotated in smaller print still, with a further 150 pages of appendices.
Viktoria Tereshkina has a warm personality and this enhances her dancing. She has long thin limbs and offers expansive port de bras, while her legs whip up effortlessly but with control.
Les Saisons Russes / Natalia Sats Opera & Ballet – Petrushka, Chopiniana, Polovtsian Dances – London
The triumph of the triple bill was the rip-roaring account of the Polovtsian Dances, with the choir exulting from boxes at the side of the Coliseum stage.
…it’s very Russian in its mixture of comedy, satire and luscious spectacle – and first-class performances.
5 Questions to Paul White. Last year Australian Paul White danced at the Southbank Centre in Meryl Tankard’s ‘The Oracle’ and won a UK National Dance Award for Outstanding Performance. This week he dances in a new piece at the Southbank – another winner? We catch up with him…
Graham Watts, visited the Natalia Sats Theatre in Moscow, earlier this year, to talk to both Liepa and Isaakyan about their new production of Le Coq d’Or.
Stravinsky’s is a bitter tale with folk roots, about a soldier (played by the convincingly guileless, agile Tom Pecinka) returning home from the front who is sidetracked by the devil….
…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.
George Balanchine’s favorite composers may have been Stravinsky and Tchaikovsky, but it’s no secret that he also had an affinity for France and its music…
The triumph of the Nureyev collection at CNCS Moulins is to make the many facets of his profligately talented, maddening personality so vividly alive still.
ABT’s run of Les Sylphides this season are different – after research, the company, under their musical director Ormsby Wilkins, have rediscovered a 1941 orchestration by Benjamin Britten. Marina Harss reveals all in conversation with Wilkins…
An apologetic Liepa promised to return for a week next time and bring the new Cleopatra with him, but this was an unsatisfying evening in its current form.
But altogether, this was an evening of historical curios that lacked consistent vibrancy.