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…
In fact delight was the keynote of the whole evening …I was very happy to see the whole company reclaiming their ‘joy in dancing’, the Bournonville essence which is fundamentally what keeps these old ballets alive.
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.
A Bend in the River is innovative on many levels, but, like all successful advancements, feels both true to its sources and utterly unique.
Johnson has a challenge on her hands. So much potential and so much talent; but what is the mission?
For the past ten years, since I first saw Shen Wei’s Folding, I have been an admirer of this artist’s work.
It takes a certain amount of nerve to build a dance season around some of the great masterpieces of the chamber music repertoire. It’s not simply a matter of status in the musical canon; these pieces are strong, they produce emotions, they command attention for themselves. But Bill T Jones is not a timid artist…
Some experiments sound better on paper – especially when one admires the artist behind them – than they turn out to be in reality.
Beloved Renegade – I’d venture to say that this is one of Taylor’s great works, heartfelt, profound, complex and deeply musical.
Opening night was a gala performance; one might have expected Esplanade, or Arden Court, but that’s just not Taylor’s style. For a choreographer who has been criticized for being too popular in his tastes, Taylor can be very odd indeed.
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…
To preserve or to progress? And if the latter, how? These questions seem to come up increasingly often as companies grapple with the death of their founding choreographers, artists who created importantant schools of dance in their own image.
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.
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.
In New York one can begin to feel proprietary about Balanchine, to form the illusion that his choreography is a local specialty, the province of a select group of dancers, all of them employees of New York City Ballet. But this is mere local pride.