Graham Watts braved 21 hours of flights and missed connections just to spend a night at the Yekaterinburg Opera House followed by a meeting with its new(ish) Director of Ballet, Slava Samodurov, a former Principal at The Royal Ballet…
The ballet succeeds most in its incidental scenes – though everything is presented fortissimo. Most clever is the way in which Nixon depicts Myrtle and George Wilson …The performances of Benjamin Mitchell and Victoria Sibson were the strongest of the evening.
The result is oddly old-fashioned – even more so than John Cranko’s version, which the Canadians had performed since 1964.
The season began with a high-energy mixed bill which showed the company on sparkling form.
Well, the set is spectacular, by the ever-resourceful Steven Scott. Perhaps Igor Zelensky and Sergei Polunin had simply seen stills of Peter Schaufuss’s Midnight Express when they agreed to appear in the ballet.
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.
A tribute to Nina Ananiashvili – with personal memories – on her 50th birthday.
Possokhov’s Rite of Spring is a mixture of mostly good choices with a few that seem rather odd to me.
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.
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.
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.
As Clement Crisp wrote after Darrell’s death: ‘His ballets are true and fascinating mirrors of their age’. Timing a revival is always tricky. Would we want to see his Beatles ballet, Mods and Rockers (1963), again?
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 an interesting evening, showing both choreographer and company at their best and at somewhat less than that.
36 pictures by Dave Morgan…
36 pictures by Dave Morgan…
It was a program that harkened back to the big international Galas of previous years, as well as a nice reference to the company’s first years, when artists including Sonia Arova, Erik Bruhn, Margot Fonteyn and Rudolf Nureyev guest-starred.
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…