I am happy to report that the biggest discovery of the second program was The Sarasota Ballet, a company founded in 1991 and currently directed by former Royal Ballet dancer Iain Webb…
It’s a celebration of American ballet from coast to coast and a vivid snapshot of its diversity of style and repertory.
I have to say that after seeing the Shostakovich Trilogy twice, and picking up many more details …I found it very compelling indeed, especially the opening and closing ballets.
Creases revealed, once again, Just Peck’s ability to create strikingly imaginative patterns and formations onstage.
Symphony in C, a luminous outpouring of legs and arms, crisp geometries, bobbing rhythms, and articulate patter-like conversations for the feet, is a vivid reminder of why one goes to the ballet at all. Luminosity and classical logic, laced with wit and intelligence.
Along the way, the show strings together some memorably ravishing songs and knock-out dance numbers while having fun…
Chroma: Perhaps it’s meant as a kind of sherbet to clear the palate between the Balanchine pieces… In short, I found the ballet dazzling but soulless.
But ‘A Place for Us’ (new Wheeldon) feels like a bauble, not quite a jewel.
But stuck in the middle of all this brightness was Ivesiana, like a ghost at a birthday party. It is a most unsettling ballet.
Choreographer Christopher Wheeldon is currently at the San Francisco Ballet preparing for the American premiere of his Cinderella. He has a rehearsal in forty-five minutes so we quickly set off to discuss his latest full-length ballet and many other things…
San Francisco Ballet – Criss-Cross, Francesca da Rimini, Symphony in Three Movements – San Francisco
Program 7 made me think a lot about this tricky issue of programming because this bill is a weird sandwich made with a delectable gourmet filling between slices of bland Wonder bread.
…with choreographic masterpieces by George Balanchine and José Limón and a Washington D.C. premiere of Alexei Ratmansky’s new work, this ABT program was in every way a balletomane’s dream come true.
The season began with a high-energy mixed bill which showed the company on sparkling form.
The revitalizing impact of Balanchine’s choreography on Tchaikovsky’s music was particularly evident in the all-Tchaikovsky, all-Balanchine program presented by New York City Ballet at the Kennedy Center Opera House during the last week of March.
So how long does he see himself staying on the far side of America? “Well, I am just about to sign another six year contract,” he grinned…
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.
Teresa Reichlen – known as Tess by friends and colleagues – is an immediately striking dancer: tall, pale, preternaturally serene. She could be a Madonna in a painting by Botticelli.