ABT's run of Les Sylphides this season are different - after research, the company, under their musical director Ormsby Wilkins, have rediscovered a 1941 orchestration by Benjamin Britten. Marina Harss reveals all in conversation with Wilkins...
Tag - American Ballet Theatre
Throughout the Bach Partita, Tharp’s movement is technical, precise, and highly articulated. As with Balanchine, the bodies are always distinct, framed in space.
It’s good to see the company perform Sylphides again after a hiatus of eight years. The style hasn’t eroded. ...The dancers believe in it.
Fashioning a ballet out of The Tempest is no small endeavor. How does one distill Shakespeare’s rather complex play into forty-six wordless minutes....
Because of the ephemeral nature of choreography, it’s unusual for a ballet that has lain dormant for decades to return to life. But this fall, it will...
For all Bourne’s imagination, his version makes even less sense than the original.
My father asked my original teacher in Rockville, Ms. Hood, whether it was viable for me to become a dancer, and she said she thought I could, even though I wasn’t blessed with beautiful legs and feet. But I had a lot of other assets...
An interview with Michaela DePrince ex Dance Theatre of Harlem and now with the Junior Company of Dutch National Ballet. Marina Harss talks to her about life and motivations and, inevitably, about DePrince often being a different colour to most other dancers on ballet stages and the issues around that...
Kevin O’Hare, Director of The Royal Ballet, announced today that Matthew Golding is to join the Company as a Principal in February 2014. His first performance will be on 27 March dancing alongside Natalia Osipova in The Sleeping Beauty.
This Cinderella, the hotly anticipated centerpiece of the Australian Ballet’s 2013 season, is sensationally, luxuriantly, and extravagantly beautiful...
Wherever Virginia Johnson goes, she seems to travel on a cloud, with a kind of regal composure few possess in our day. She appears imperturbable...
Do you perceive a difference between the musicality of American dancers and that of Russian dancers? AR: There is a huge difference in the musicality. I often found Russian dancers unmusical... But they have other qualities...
Bouvier’s concept is valid and interesting, the execution less satisfying. She is certainly a talented choreographer and produces some striking images...
Nijinsky's 'Jeux', like 'Rite', is in its centenary year - lesser known it may be but Archer & Hodson give fascinating detail on its creation and the thought that went into putting on, at UNCSA, their reconstructed version earlier this year.
Like a Fabergé egg with a tiny golden bird inside, Sylvia is decadent, a bit indulgent, but delightful.
The previous night had been dominated by Gillian Murphy’s performance. She is an absolute powerhouse in this role, a kind of super-stylized, inhuman creature, an art-deco distillation of speed and daring.
American Ballet Theatre have a new production of Le Corsaire. Eric Taub sees the headline casting of Natalia Osipova and Ivan Vasiliev - but was he moved and wowed? Not really...
American Ballet Theatre are dancing Kenneth MacMillan's Romeo and Juliet. Marina Harss reviews 2 casts: Polina Semionova / David Hallberg and Roberto Bolle / Hee Seo...
Alina Cojocaru and Johan Kobborg have announced they will leave The Royal Ballet at the end of the 2012/13 season to pursue other artistic challenges.
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.