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.
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.
“Vadim was the first partner to make me feel like I was 16, even though I was approaching 40 when we first danced together.”
While I wasn’t wowed by the closer, as I left I couldn’t stop talking about the Bhuller and Gable and wishing to see major companies put them both on in full. That and the usual thought: Another year, another fine night from Ballet Central – well done all.
…though I don’t believe it’s a great work of art, there’s no denying that it’s fun.
The highly-anticipated and much-talked-about production of Alice’s Adventures in Wonderland has finally made its way to Washington D.C. for a ten-performance run in January…
N.Y. Export: Opus Jazz is certainly not Robbins’ finest or most original work but perhaps because of its relative straightforwardness, it reveals much about what is so remarkable about this choreographer.
Is there a ballet more deceptive than Balanchine’s Divertimento from ‘Le Baiser de la Fée’? If so, I’m not aware of it.
This is not by any means a DVD for casual viewing, but for the serious student of ballet it provides a concise and fascinating understanding of the key components of Romantic Ballet, hugely enhanced by the opportunity to see a group of restaged dances from that era that have not been seen before…
Gudrun Bojesen, the Royal Danish Ballet’s leading classical ballerina, is at an interesting stage of her career…
The Honors are America’s highest award for those whose creative triumphs influenced and enhanced American culture. This is a celebration of their outstanding careers and extraordinary talents and appreciation of their unyielding commitment and contribution to the arts.
On the eve of the Clive Barnes Foundation announcing its annual awards we interview Valerie Taylor-Barnes, the great critics widow, about her life in dance (including the Royal Ballet) and the work of the Foundation…
…I’m not certain in which direction the company is headed. There is so much potential to be realised that it would be disappointing to see it ebb away.
To be honest I don’t think her first announcements are a landmark in repertoire terms – but it was never going to be unless some ballet fairy deposited a few extra million in the company coffers to allow instant change.
Rambert provided the marvellous quote: ‘Pavlova excited in people the desire to dance where Diaghilev inspired in people a love of ballet and a love of choreography’.
The company brought two contrasting programmes, one classical, In the Steps of Petipa, and one modern, 4 Tendances (Four Tendencies). Of the two, the dancers looked far more at home in the contemporary pieces…
Barry Wordsworth conducted the trimmed and re-ordered score as though it were great ballet music. If only.