...in late March the troupe revived Turandot, created in 2003 by the Australian choreographer, Natalie Weir, and one of the best works premiered during the tenure of the former artistic director, Stephen Jefferies.
Reviews
Reviews of Dance and Ballet Performances
It's said that for financial reasons there will be no more performances of Lady of the Camellias here after this run – that would be a little tragedy of its own: these dancers deserve the chance to grow in their roles and their audience deserves the opportunity to see them do it. Let's hope some way will be found to make it happen.
The crowd erupted in cheers. Ek’s piece hints at another side of Guillem, a goofier, simpler human being beneath the veneer of the icon. If it feels a little coy, well, maybe it is, maybe it isn’t. It’s a smart, well-calibrated program in every sense.
'Sweet Violets', though over-ambitious, is the best stab at a psychologically complex narrative ballet the company has commissioned for years.
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.
Calling this ballet a guide (Guide To Strange Places) is not really precise because it’s more like a portal that lets you in and then leaves you on your own to figure out where you are. Whether you have absolutely no sense of direction or can find your way anywhere blindfolded could determine how you explore this terrain
So what has made her a ballet legend? The simple fact that she lives, breathes and demonstrates the finest techniques of Russian classical ballet. She is fastidious in her footwork, has the most beautiful pliable back, expressive arms and has perfect proportions and great sensitivity...
Gnawa, on the other hand, is one of Duato’s best, though Duato does not have Limón’s depth. Duato is a master of atmosphere, a stylist with an eye for off-kilter, emotionally-tinged, virtuosic movement. His musical choices are sophisticated and theatrical. He sometimes tries too hard to be profound...
They all get a grade A pass from the ROH2 finishing school; with a little more attention to the fine detail, tightening up the concept and allowing more dance to flow, it would have been a full house of A stars.
In format Suite en Blanc reminds me a little of Harald Lander's Etudes, and it certainly fulfils the same purpose in providing the company with a spectacular programme-closer. ENB may be going through a difficult period but they don't let it show on stage.
Local audiences also saw the return of the Lyon Opera Ballet. Their mixed programme consisted of two ballets by Benjamin Millepied, a ballet by Maguy Marin, and best of all, Balanchine’s masterpiece, Concerto Barocco, staged by Nanette Glushak.
The excellence of Tennant & Lowe’s score was always evident but the main impetus for this new, improved ballet is a greater integration of choreography, music, designs and video animation out of which emerges a more holistic package.
Another surprising choice was Taylor’s Arden Court (1981), which opened Wednesday evening’s program. The dancers were simply stunning. I hate to say, but the parallel is that Miami City Ballet does Balanchine better than New York City Ballet. Not to denigrate Taylor’s dancers at all...
Firebird: To Williamson’s credit, the action, though baffling, never palls. He knows how to deploy a diverse cast, using an interesting vocabulary of classical ballet steps and partnering. He’s obviously fired up his dancers to commit themselves to their roles, flaunting their glitzy costumes with panache. But it’s a muddled piece, overpowered by Stravinsky’s myth-making music.
With its new program titled Twyla Tharp: All American, the Washington Ballet paid homage to the high priestess of American dance...
Every performance by the Nrityagram Dance Ensemble feels like a revelation. We are lucky that the company visits New York regularly...
Anyone who went to Les Ballets de Monte Carlo’s Le Songe, artistic director Jean-Christophe Maillot’s version of Shakespeare’s A Midsummer Night’s Dream expecting a family show will have been in for a shock. Packed with graphic sexual imagery from start to finish, this is the kind of production that has small children asking “What are they doing, Mummy?”...
While Neumeier's choreography for Street Car lacked virtuosic technical dancing and any substantial group dance numbers, the ballet proved exquisite without them and PBT's well-rehearsed dancers were outstanding in the Neumeier ballet classic.
Oyster is always what you expect Cirque du Soleil to be, but rarely is. Without apparatus, or specialty international acts, what this troupe of eight dancers and four character performers create really gives Cirque a run for their theatrical money.... a classic for all time.
But if some grasp of the narrative can be assumed rather than supplied, Wheeldon still needs to make us care about his characters. He does succeed in making Alice a warm-blooded, strong-willed character, and Lauren Cuthbertson works extremely hard in the role to give us a lively, resourceful and energetic heroine. Jack is less strongly drawn. Federico Bonelli is certainly handsome enough for any...