Though Tan dances with a wonderful lightness and an elegance not quite suited to a naïve peasant girl, she never really emotionally engages with the ardent Karapetyan, who possesses nuanced acting and strong technique, and deserves to have a partner who can match his level of commitment to crafting a role.
The Critics’ Circle National Dance Awards for 2013 took place today in London at The Place’s Robin Howard Dance Theatre.
The best all-round piece of the evening is Hans van Manen’s Variations for Two Couples, from the exquisitely concise choreography by this still-relevant master…
This was an evening not to be missed. Newly appointed Artistic Director, José Manuel Carreño, made sure that the quality of the eighteen guest artists for Ballet San Jose’s Gala Performance would tantalise even the most skeptical dance fan.
At times the choreography doesn’t seem to fit this space… Nonetheless, the dancers do a remarkable job with what they are given.
No sets – just glorious lighting designs playing essential roles in the performances.
Gallery by Dave Morgan…
American Ballet Theatre – Opening Night Gala: The Tempest (premiere), Theme and Variations, Aftereffect – New York
Fashioning a ballet out of The Tempest is no small endeavor. How does one distill Shakespeare’s rather complex play into forty-six wordless minutes….
San Francisco Ballet continued their East Coast season with the New York premiere of Christopher Wheeldon’s Cinderella. The staging is lavish…
San Francisco Ballet – From Foreign Lands, Beaux, Classical Symphony and Symphonic Dances – New York
In its second mixed bill here in New York, San Francisco Ballet once again impressed with its vitality and the depth of its bench, as well as with its pleasantly unified look.
San Francisco Ballet is in town for two weeks, and on the evidence of opening night, this should be an invigorating visit. The company looks to be in top form.
Music is always my anchor. I can’t work without a very solid musical base. The lion’s share of the work I’ve made over the years has been music-led and the primary instigator in Subterrain is the Turnage music.
Amy Seiwert’s Sketch series is about dancers taking risks. Aimée Tsao caught up with Sketch 3 and works by Seiwert, Marc Brew and Val Caniparoli…
If the choreography was a mixed bag there was a clear flip side, or rather two. This year’s standard, particularly on the boys’ side, gave cause for celebration at the strength on show…
The previous night had been dominated by Gillian Murphy’s performance. She is an absolute powerhouse in this role, a kind of super-stylized, inhuman creature, an art-deco distillation of speed and daring.
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.
If extravagant productions are the way to bring in new audiences and fill the till then they are justified for those reasons alone. However, they don’t necessarily leave a rich legacy for future generations.
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.