★★★★✰ The live taping of four works by ABT’s resident choreographer Alexei Ratmansky is viewable during a generous streaming window through 18 April for $25, and includes the new quarantine creation, Bernstein in a Bubble...
Tag - Alexei Ratmansky
★★★✰✰ All three pieces (by Alexei Ratmansky, Danielle Rowe and Yuri Possokhov) were strong, though the program itself felt a bit curious.
There’s no way around it: it’s been a miserable year for the performing arts here in the US... But still, there were highlights, moments in which for whatever reason, some spark illuminated the soul...
Stella Abrera, the much loved and recently retired American Ballet Theatre principal talks to Oksana Khadarina about her new life as Artistic Director of the Kaatsbaan Cultural Park and its much admired Festival. That and putting on a ballet for Alexei Ratmansky in St. Petersburg...
Alexei Ratmansky, the Covid-19 Interview - “Its’ like a dress rehearsal for retirement and it turns out that I’m not ready for it.”
Dutch National Ballet, under director Ted Brandsen, have made a splendid response to COVID-19, streaming 8 new digital dances in the last 3 months. Graham Watts on many interesting and absorbing works, varying from ★★✰✰✰ to ★★★★★
★★★✰✰ In the last week of its winter season, New York City Ballet unveiled a new work by its resident choreographer, Justin Peck, to a score by the popular neo-Minimalist composer Nico Muhly. It was a homecoming of sorts for Peck...
Gallery by Foteini Christofilopoulou...
Cathy Marston on The Cellist & Mrs. Robinson – new works for The Royal Ballet & San Francisco Ballet
In the next two months Cathy Marston has premieres at The Royal Ballet (17 February) and San Francisco Ballet (24 March) - Jann Parry talks to Marston about the inspiration and making of two special works...
★★★★✰ The annual Icons gala provides the chance to see dancers who don't often appear in London...
★★★★✰ There was always something new around the corner, a surprising shape, a witty step, an unlikely transition. It’s clear that Ratmansky felt liberated by the unusual structure and soundscape...
★★★✰✰ The Vertiginous Thrill of Exactitude, the opening dance of the first program, is Forsythe burrowing into the neoclassical cannon and a nod to the style and traditions of George Balanchine.
Lynette Halewood with some reflections on London dance performances over the last year - the good and the less good...
I don’t really believe in lists, but it’s admittedly fun to look back over the year and reflect on moments that have stayed with me. So here they are, in no particular order…
★★★★✰ This is a Giselle that is both familiar and new. Watching it on opening night was like seeing a faded painting regain its colors.
★★★✰✰ Once again, Osipova gave it her all – and Osipova’s all is quite something to behold.
★★★✰✰ This three-act three-hour-long Paquita is a brainchild of Smekalov, who is a second soloist with the company. He wrote his own libretto, largely borrowing from the Cervantes novella La Gitanilla...
★★★✰✰ Kudos to Lovette for really going out on a limb... The Shaded Line feels truly her own, and it’s clear that she has much to say about her chosen profession...
★★★✰✰ Program A consisted of a string of solos and duets representing a slice of the company’s choreographic trajectory, from Frederick Ashton through Kenneth MacMillan to Liam Scarlett, Wayne McGregor, and Charlotte Edmonds.
★★★★★ A wildly surreal comic turn involves a dog riding a bicycle, both cunningly choreographed. He's actually a tractor driver in disguise, disrupting sexual assignations.