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.
Sara Mearns has been New York City Ballet’s reigning Swan Queen since her breakout performance in 2006, when she was only nineteen years old and a member the corps de ballet. It was a performance of surprising intensity, edged with danger.
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….
The company danced Serenade well but the very simplicity in its choreography, created as it was initially for students, ironically makes it hard to produce a perfect performance…
Hong Kong Ballet presented a diverse and well-balanced mixed programme in early November, consisting of two premieres and a revival of a major work.
San Francisco’s second programme was better balanced than the first, with contrasting works created for the company within the past two years.
“I think for me the high point is that I don’t see Boston audiences as having any limitations. When I got here everybody was telling me what I couldn’t do and people warned me to play it safe. But I have found people extremely open and willing to explore and I’m really thrilled about that.”
Boris Eifman is described in his company’s programme notes as a ‘choreographer-philosopher’ who wants to ‘draw spectators into the inexhaustible world of human passions’. His aim is to reinterpet the work of past geniuses to bring out their relevance to us today. …Eifman is the Ken Russell of St Petersburg.
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.