Has there ever been a more sensitive, sympathetic chronicler of that inner flutter brought on by the onset of love than Frederick Ashton? It seems unlikely, on the evidence of ABT’s premiere of A Month in the Country…
Boston audiences were very lucky in their first two Swanildas. Opening night, Misa Kuranaga was a vision of loveliness…
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.
Along the way, the show strings together some memorably ravishing songs and knock-out dance numbers while having fun…
Chroma: Perhaps it’s meant as a kind of sherbet to clear the palate between the Balanchine pieces… In short, I found the ballet dazzling but soulless.
But ‘A Place for Us’ (new Wheeldon) feels like a bauble, not quite a jewel.
But stuck in the middle of all this brightness was Ivesiana, like a ghost at a birthday party. It is a most unsettling ballet.
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…
…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.
The season began with a high-energy mixed bill which showed the company on sparkling form.
Johnson has a challenge on her hands. So much potential and so much talent; but what is the mission?
The revitalizing impact of Balanchine’s choreography on Tchaikovsky’s music was particularly evident in the all-Tchaikovsky, all-Balanchine program presented by New York City Ballet at the Kennedy Center Opera House during the last week of March.
His choreography is busy, occasionally predictable, but more often inventive, strong on musicality and both remarkably fluid and emotionally charged; stretching the dancers both literally and in terms of their artistic diversity.
Alonso trained the first generation of Cuban dancers, among who there were many standouts, but the most well-known in Cuba were the “Four Jewels” of Cuban ballet: Josefina Méndez, Mirta Pla, Aurora Bosch, and Loipa Araújo (now Associate Artistic Director of English National Ballet)
Some experiments sound better on paper – especially when one admires the artist behind them – than they turn out to be in reality.
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.”
So how long does he see himself staying on the far side of America? “Well, I am just about to sign another six year contract,” he grinned…
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.