Northern Ballet has just announced details of its 50th Anniversary Season for next year. The plans include a big Gala and new full evening works by Kenneth Tindall (Geisha) & Drew McOnie (Merlin). Here are the full headlines and dates on one page...
Tag - Jerome Kaplan
★★★★✰ In the last several years, the choreographer Alexei Ratmansky has developed a sideline to his main choreographic efforts: the reviving of ballets by Marius Petipa in a way that represents the original choreography with as much fidelity as possible...
★★★✰✰ But, at least to my eye, the production’s triumph is its final lakeside act. There, the formations of swans, as originally choreographed by Lev Ivanov, become intricate, delicate, lyrical, and intensely moving.
★★★★✰ Kobborg has deconstructed the work; mixing up the narrative’s building blocks before reassembling them in a masterpiece of balance that remains recognisably traditional but is also refreshingly new.
★★★★✰ The Fairy's Kiss (Ratmansky premiere): The final image is poetic, grand, inspiring. It takes one’s breath away.
★★★★✰ Maillot has succeeded in giving perhaps the most authentic retelling of Perrault’s story in dance with his tale of love overcoming the darkest evil...
★★★✰✰ ...the production lurches between down-to-earth Aussie niceness and the designer’s European conceits...
★★★★✰ It isn’t often that a gala program proves satisfying, but this one was the exception.
David Nixon must be able to lay claim to being the most prolific creator of full-length narrative ballets at work today...
The Jean-Christophe Maillot Romeo and Juliet, last week given its UK premiere by Northern Ballet, is a strange thing.
This Cinderella, the hotly anticipated centerpiece of the Australian Ballet’s 2013 season, is sensationally, luxuriantly, and extravagantly beautiful...
"It is performed with great commitment..." says Lynette Halewood of a Jayne Eyre ruthlessly pruned for dance...
In fact delight was the keynote of the whole evening ...I was very happy to see the whole company reclaiming their 'joy in dancing', the Bournonville essence which is fundamentally what keeps these old ballets alive.
Without Körbes’s natural, radiant dancing, Jean-Christophe Maillot’s Roméo et Juliette, which dominated the company’s four-day run, would have been hard to bear.