I thought this year’s Royal Ballet School (RBS) performance on the main Royal Opera House stage was pretty damn’ good.
But no end of fine, or even inspired, performances can breathe life into this tired production
American Ballet Theatre know how to do a Gala and this was their 75th Anniversary as well – Everybody seemed to have a good time says Marina Harss…
Program 3 features Hans van Manen’s Variations for Two Couples, William Forsythe’s The Vertiginous Thrill of Exactitude, Manifesto by Myles Thatcher and “The Kingdom of the Shades” from La Bayadère.
Sutton was originally asked to write a brief account of Markova’s career for the Gotlieb Centre but soon realised that her subject’s life, personal and public, was so fascinating that she undertook a substantial biography
My father asked my original teacher in Rockville, Ms. Hood, whether it was viable for me to become a dancer, and she said she thought I could, even though I wasn’t blessed with beautiful legs and feet. But I had a lot of other assets…
Grigorovich’s staging of Act III is masterly. He has the fakirs lull Solor into an opium-induced sleep in a setting that lifts away to reveal a rocky arch. Within it Solor sees a vision of Nikiya enticing him into a ballet blanc nirvana
Quibbling and Côté aside, these were both terrific performances, bursting with energy …I wouldn’t mind seeing the Canadians become regular visitors to Saratoga
Along the way, the show strings together some memorably ravishing songs and knock-out dance numbers while having fun…
First thing to say is that it’s a peach of a production, coherent, dramatically satisfying… It still feels fresh and vibrant… The three leads did well… Elsewhere it was a mix of good and ragged steps…
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.
Cojocaru is as great a dance-actress in the final scene as any I’ve been privileged to see – and that includes Lynn Seymour, Natalia Makarova and Ekaterina Maximova.
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.
At the end the curtain came up once again, and Brigitte Lefèvre (artistic director of the ballet) and Nicolas Joel (director of the opera as a whole) emerged to announce the promotion of the evening’s Solor, Josua Hoffalt, to the ultimate rank: étoile. There were buckets of tears, from Hoffalt, Gilbert, and Dupont. In fact, it was the high point of the evening. An uncontrolled release of emotion, at last.