No sets – just glorious lighting designs playing essential roles in the performances.
Gallery by Dave Morgan…
Richard Alston’s devotion to Britten’s music goes back 50 years, and for his programme at the Barbican Theatre he’s made two new works to be shown alongside two from an earlier stage in his career.
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 continued their East Coast season with the New York premiere of Christopher Wheeldon’s Cinderella. The staging is lavish…
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.
What the programme showed was that, unlike most of other ballet choreographers in Britain today, Bintley’s work isn’t primarily about the pas de deux.
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.”
Jeu de Cartes, by Peter Martins, is jaunty and busy, a cross between the pas de deux in Balanchine’s Rubies, the trios in Danses Concertantes, and the non-stop action of Martins’ Fearful Symmetries….
Amid all the fuss about the costumes, the choreogaphy paled… What a joy, then, to see a section of Western Symphony, with those marvelous frou-frou tutus by Karinska and that euphoric outpouring of Balanchine’s’ crisp, witty steps.
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…?
If the choreography was a mixed bag there was a clear flip side, or rather two. This year’s standard, particularly on the boys’ side, gave cause for celebration at the strength on show…
Words with the man and thoughts on the Behind the Scenes at The Royal Ballet book from Graham Watts. Details of his next book too – on Natalia Osipova…
We are pleased to announce the appointment of Christopher Powney to the new post of Artistic Director Designate. Christopher will take up his position in April 2014.
I hope the company return to London, and if they do, I hope they bring some other Forsythe work.
2013 is the centenary of Benjamin Britten’s birth and Kim Brandstrup is part of the celebrations with important works at the Aldeburgh Festival (with the Royal Ballet) and in London (for ENO). Jane Simpson catches up with him…
It’s a celebration of American ballet from coast to coast and a vivid snapshot of its diversity of style and repertory.
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.