Tamara Rojo, Artistic Director of English National Ballet, has announced promotions within the Company as well as details of new joiners:
Archive - July 2014
...I think it’s safe to say that she is an artist who follows her obsessions with a tenacity that is both admirable and frequently defeating.
Les Saisons Russes / Natalia Sats Opera & Ballet – Petrushka, Chopiniana, Polovtsian Dances – London
The triumph of the triple bill was the rip-roaring account of the Polovtsian Dances, with the choir exulting from boxes at the side of the Coliseum stage.
Question... What's the biggest audience noise you will ever hear in ballet? Answer... The roar of the audience at the end of the Royal Ballet School show at the Opera House.
Gallery by Sunkyung Reina Jang…
I feel that I now know what an end-of-pier seaside special looks like in Brazil.
Watching Rosas danst Rosas this weekend it was easy to understand why it still stands as a prime example of De Keersmaeker’s choreographic approach.
Only the official retirement age of 42 requires him to leave the company, alas, though he may be invited back as a guest.
It’s a really demanding work, and the intimate setting of the Purcell Room brings you up close to every drop of sweat.
Reich's score is, of course, a constant pulse. De Keersmaeker provides no rest for the senses. She matches Reich in density and motion. It is mimicry of the highest order.
Latitude Festival opens next week (17th July) and features lots of interesting dance - Lise Smith catches up with 2 companies preparing their open air shows...
...it’s very Russian in its mixture of comedy, satire and luscious spectacle – and first-class performances.
Gallery by Dave Morgan...
Gallery by Foteini Christofilopoulou...
5 Questions to Paul White. Last year Australian Paul White danced at the Southbank Centre in Meryl Tankard's 'The Oracle' and won a UK National Dance Award for Outstanding Performance. This week he dances in a new piece at the Southbank - another winner? We catch up with him...
This glitzy evening proved that the Central School of Ballet has friends in abundance (or perhaps that should be hyphenated to “a-bun-dance”) but the aim of this gala event was clearly to encourage a few more.
The three dancers who took their leave this week – Sascha Radetsky, Yuriko Kajiya and Jared Matthews – are all soloists. Each led a different cast of the company’s 1997 production of Coppélia.
If there’s a linking rationale between the sequences, other than one of physical contrasts, it’s not evident. Lecavalier cannot fail to be riveting because of her compelling presence, as androgynous as David Bowie, as vulnerable as Wendy Houstoun...
If you are keen on seeing new work, this is an attractive package of five varied pieces which is very well presented.
Gallery by Foteini Christofilopoulou...