"Isabella Boylston" tag
Julie Kent and Roberto Bolle in Marcelo Gomes' Apothéose.© Marty Sohl. (Click image for larger version)

American Ballet Theatre – Spring Gala – New York

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.

Kristi Boone in In the Upper Room.© Rosalie O'Connor. (Click image for larger version)

American Ballet Theatre – Drink, Cruel World, Stars/Stripes, Rodeo, Pavane, Upper Room – New York

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.

Hee Seo (Giselle) & Cory Stearns (Albrecht) in Giselle.© Sunkyung Jang. (Click image for larger version)

Gallery – American Ballet Theatre in Giselle

30 pictures by Sunkyung Jang

Angel Corella in Swan Lake. © Rosalie O'Connor. (Click image for larger version)

American Ballet Theatre – Swan Lake, Angel Corella Farewell – New York

Corella’s final performance alongside Paloma Herrera – theirs is an enduring partnership – was just as one would have imagined it: ardent, joyful, and full of charm. He gave and gave…

gs-firebird-natalia-osipova-and-marcelo-gomes-fight_360

American Ballet Theatre – Firebird, Thirteen Diversions, Apollo – New York

Sometimes the second time is the charm. This seems to be especially true when it comes to new ballets by Alexei Ratmansky. Often, they’re not easy to take in on first viewing, indigestible as an over-rich meal. But then, something in us changes, our eye evolves.

Alina Cojocaru and Angel Corella in Giselle. © Gene Schiavone. (Click image for larger version)

American Ballet Theatre – Giselle – New York

…with Cojocaru the steps are sublimated into the character and the situation. She seems to be experiencing the ballet anew, moment by moment, with the audience. No surprise, then, that her mad scene is hypnotic, and changes from performance to performance…

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