I have to say that after seeing the Shostakovich Trilogy twice, and picking up many more details …I found it very compelling indeed, especially the opening and closing ballets.
Has there ever been a more sensitive, sympathetic chronicler of that inner flutter brought on by the onset of love than Frederick Ashton? It seems unlikely, on the evidence of ABT’s premiere of A Month in the Country…
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.
The season began with a high-energy mixed bill which showed the company on sparkling form.
The festival was as intensive as ever, with three performances running on seven days, four on one day, some concurrently. The range and quality of dance overall was impressive.
The highlight of the gala was the seventieth-anniversary performance of Agnes De Mille’s Rodeo, preceded by a short film describing its creation, with archival footage of the hilariously histrionic, diminutive choreographer.
30 pictures by Sunkyung Jang
…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…