But ‘A Place for Us’ (new Wheeldon) feels like a bauble, not quite a jewel.
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.”
The second movement (of Son Of Chamber Symphony) is a sumptuous duet, performed by Victoria Jaiani and Fabrice Calmels, an on-stage pair made in heaven.
Toba Singer talks to José Manuel Carreño: “Coming from Cuba, with the Cuban school you end up with a very strong foundation because you train so much in technique and partnering. These are two things that were very strong from the Cuban school, but on top of that, there was a lot of attention paid to the theatrical elements…”
Sara Mearns has been New York City Ballet’s reigning Swan Queen since her breakout performance in 2006, when she was only nineteen years old and a member the corps de ballet. It was a performance of surprising intensity, edged with danger.
N.Y. Export: Opus Jazz is certainly not Robbins’ finest or most original work but perhaps because of its relative straightforwardness, it reveals much about what is so remarkable about this choreographer.
The highly anticipated world premiere of Wayne McGregor’s Borderlands, commissioned by SF Ballet, meets with a standing ovation.
It’s a good thing indeed when a visit to the ballet turns out to be a night full of surprises, all of them good.
What one does not see much of, at least at first glance, is nostalgia for the motherland. “I never had nostalgia about anything,” Baryshnikov says.
The festival was as intensive as ever, with three performances running on seven days, four on one day, some concurrently. The range and quality of dance overall was impressive.
The Honors are America’s highest award for those whose creative triumphs influenced and enhanced American culture. This is a celebration of their outstanding careers and extraordinary talents and appreciation of their unyielding commitment and contribution to the arts.
It’s always been clear that Millepied is a man of intelligence and taste.
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.
There should be more nights like this at New York City Ballet.
“It’s very lonely out there… I mean, it would be nice to have some sort of mentorship with regard to what it takes to be a choreographer.”
Muriel [Maffre] was an inspiration for me because she got so many great roles even though she was tall. After she retired I started to get some of her old parts.
Aimée Tsao, watching San Francisco Ballet for over 35 years now, with a general primer on the company and some thoughts on the repertoire they are bring to London in September 2012…
The idea behind Amy Seiwert’s SKETCH 2 is to promote women ballet choreographers. Included in the press kit was an informal survey of twenty-four ballet companies with income over $5 million in the United States. Of the 302 works to be performed this upcoming season only 27 were by seventeen women.
New York City Ballet – Concerto Barocco, Kammermusik No. 2, Firebird, Symphony in C – Saratoga Springs
After the dreary bombast of Alexei Ratmansky’s recent Firebird for American Ballet Theatre, the Balanchine/Robbins version, with its blessedly shorter score (Stravinsky’s Firebird Suite), heavenly Chagall designs and the great Ashley Bouder in one of her first great roles, was a welcome palliative.