"Lincoln Center" tag
Kerala Kalamandalam in Dussasana Vadhom.© Kevin Yatarola. (Click image for larger version)

Memorable Performances of 2016 – New York

Marina Harss with her personal selection of New York dance memories this last year…

Miami City Ballet in Giselle.© Gene Schiavone. (Click image for larger version)

Miami City Ballet – Giselle – Fort Lauderdale

★★★★✰   From start to finish, this Giselle was superbly realized: stylistically accurate, visually enchanting and emotionally poignant.

Kerala Kalamandalam in Dussasana Vadhom.© Kevin Yatarola. (Click image for larger version)

Sounds of India Festival – Mark Morris Dance Group & Kerala Kalamandalam – New York

★★★★✰   This year’s White Light Festival, at Lincoln Center, has spawned a mini-festival of its own, Sounds of India, curated by the modern-dance choreographer Mark Morris. Why Morris? Because he has been going to India since the eighties…

Mark Morris Dance Group in Mozart Dances.© Richard Termine. (Click image for larger version)

Mark Morris Dance Group – Mozart Dances: Eleven, Double, Twenty-seven – New York

★★★★★   It’s difficult to think of a better way to bid farewell to a New York summer than with Lincoln Center’s “Mostly Mozart” festival, and seeing Mark Morris Dance Group performing Mozart Dances was the icing on the cake.

Paul Taylor's American Modern Dance in Taylor's Dilly Dilly.© Paul B. Goode. (Click image for larger version)

Paul Taylor’s American Modern Dance – David H. Koch season – New York

★★★✰✰   The past few years have seen the beginning of a transformation of the Paul Taylor Dance Company – or, rather, as it’s now known, of Paul Taylor’s American Modern Dance. The company is looking to the future…

Aakash Odedra in Murmur.© Ars Electronica Linz GmbH / Veronika Pauser. (Click image for larger version)

Aakash Odedra Company – Ink, Murmur – New York

…a perfect example of what can happen when an exceptional practitioner is led astray by an excess of theatrical ideas and special effects.

Suzanne Farrell.© Paul Kolnik. (Click image for larger version)

Interview: Suzanne Farrell – Artistic Director

We talk to Farrell about her summer program, her approach to teaching aspiring ballet dancers, her studies and work with George Balanchine and also about her her company and its new season at the Kennedy Center, which runs 30 Oct – 1 Nov 2015.

Natalia Osipova and Ivan Vasiliev in Don Quixote.© Stas Levshin, courtesy the Mikhailovsky Ballet. (Click image for larger version)

The Mikhailovsky Ballet’s American Debut at the Lincoln Center

Having wowed London with three acclaimed seasons over the last six years, at last the Mikhailovsky Ballet make their American debut in NY. Lisa Snyder introduces the company and its repertoire…

Basil Twist's The Rite of Spring.© Richard Termine. (Click image for larger version)

Basil Twist – Fireworks, Pulcinella Suite, The Rite of Spring – New York

Puppeteer Basil Twist is pushing boundaries again in New York as part of the White Light Festival, with a triple bill based on Stravinsky…

Jenn Weddel, Stacy Martorana and Rita Donahue in L'Allegro, il Penseroso, ed il Moderato.© Kevin Yatarola. (Click image for larger version)

Mark Morris Dance Group – L’Allegro, il Penseroso ed il Moderato – New York

L’Allegro, with its painterly tableaux, classical references, and unselfconscious evocations of sex and death, feels both ancient – almost pagan – and perfectly of our time…

Paul Taylor Dance Company in Perpetual Dawn.© Paul B. Goode. (Click image for larger version)

Paul Taylor Dance Company – Perpetual Dawn, Private Domain, Black Tuesday – Boston

Not the least of Taylor’s genius shows in his choice of dancers. All are superb performers who are also quite handsome to look at. If I were asked to populate an alien world from scratch, I’d begin with the Paul Taylor Dance Company.

Karl Paquette (Djémil) in La Source.© Anne Deniau. (Click image for larger version)

Paris Opera Ballet – La Source – HD cinema broadcast

…Bart’s a gifted and discerning artist, with a deep understanding of the Opera’s heritage and style. Rather than trying to “recreate” the long-forgotten original choreography by Arthur St. Leon, Bart’s made a new work that feels old, as if it had long been a warhorse of the Opera’s repertory, subject to over a century of vagaries in taste and technique, yet emerging today all the richer for the experience, and eloquent of its history.

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