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…
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.
Don’t expect big emotional highs and lows or deeply defined characters, just a clear narration of a story that everyone knows. So if we judge it on these terms how does it do?
It’s a good thing indeed when a visit to the ballet turns out to be a night full of surprises, all of them good.
I’m not yet fully convinced of the wisdom of New York City Ballet’s thematic seasons, organized around the music of a single composer….
I always enjoy The Hard Nut even though there isn’t a lot of choreography.
He knows he can’t surpass Petipa (or Ivanov for ‘Swan Lake’) – but he can tweak their scenarios into something uniquely his own. And he’s magnificently served by a cast of just 17, capable of switching roles at the twitch of a fairy’s wing.
Tonight’s premiere of Ratmansky’s newest work for American Ballet Theatre, Symphony #9, was cause for celebration. In fact, it left me feeling almost lightheaded, and terribly eager to see it again, as soon as possible.
Anyway I’d never dream of missing a BRB Lac and usually get up to Birmingham for a matinee – and this time luckily to see Celine Gittens debut as Odette/Odile. There was a lot of hubbub around the performance…
…with Cojocaru the steps are sublimated into the character and the situation. She seems to be experiencing the ballet anew, moment by moment, with the audience. No surprise, then, that her mad scene is hypnotic, and changes from performance to performance…
I want to bring more of the public to the artform and see the enjoyment it brings. I suppose I believe I have something to say!
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.