Feature - The Royal Ballet School recently danced a 'lost' Ninette de Valois ballet, "The Arts of the Theatre", reconstructed by Anna Meadmore. Jann Parry with a full report on an interesting excavation of the early days of British ballet.
Tag - Anna Pavlova
★★★★★ Thank you, Royal Ballet, for giving so much pleasure in trying times.
The achievements of RAD over the past hundred years are brought together in an impressive new book, published this month...
Although Valerie Lawson's context is wide-ranging, she brings individuals into focus with personal details, shining a spotlight onto their roles in Australian dance history. Lavishly illustrated with photographs from Australian archives, her book gives vivid life to long-gone personalities.
★★★✰✰ This year's Russian Ballet gala was ostensibly in honour of the 200th anniversary of Marius Petipa's birth. Any choreography attributed to him was mostly a long way 'after Petipa', but it's always fun to see excellent Russian dancers deliver pas de deux from Don Quixote, Swan Lake and Le Corsaire.
The aim of the annual festival is to celebrate Russian influence in international culture, thanks to Diaghilev’s productions in the first two decades of the 20th century... St Petersburg also wants to boost its reputation as ‘a great forum of the arts’, introducing contemporary creations from different nations to Russian audiences.
★★✰✰✰ What’s going on in the head office at the Mariinsky Ballet?
Q: What have you learned about Petipa from the notations? Ans: Looking at the notations changed my taste. Honestly, I just can’t stand seeing productions of the classics any more, because I know how far it is from Petipa’s intentions...
The gala opened with the Act III wedding pas de deux from The Sleeping Beauty, performed by Ekaterina Osmolkina and Guiseppe Picone. No fish-dives in this version – the Russians regard them as vulgar, and Osmolkina could never be vulgar.
30 dancers already confirmed include Natalia Osipova, Olga Smirnova, Semyon Chudin, Kim Kimin, Sarah Lamb, Xander Parish, Aline Cojocaru, Tamara Rojo, Marianela Nuňez and Thiago Soares.
In all, this was a tremendously entertaining and well-received program; but at the same time it left an unsettling impression that the Russian company is holding on to its eminent past with all its might, relying heavily on well-worn
Sutton was originally asked to write a brief account of Markova’s career for the Gotlieb Centre but soon realised that her subject’s life, personal and public, was so fascinating that she undertook a substantial biography
Both as a tribute to Ashton and as a coming-out party, it’s hard to imagine how the festival could have gone better. The ballets are in good hands.
...the audience was in thrall to the bucolic genius of Ashton’s production with as many curtain calls at the premiere as I can recall witnessing for a very long time.
The National Ballet of Panama recently put on Coppelia, staged by Vasily Medvedev over from St Petersburg. Margaret Willis was there for DanceTabs and we have lots of pictures of a colourful production:
his diverse selection of 17 works (including musical interludes) is a gala in all but name and this one could have been sub-titled “Gems of The Royal Ballet” for all nine dancers hail from that company...
The 12th International Ballet Festival - Dance Open - was held over 4 days in St Petersburg. Margaret Willis (our Ms Expressivity) was there to report on much ballet and not a little award giving...
On Sunday 10 March the Russian Ballet Icons Gala, this year dedicated to the legendary Vaslav Nijinsky, will take place at the London Coliseum.
...it’s that ambiguity in their performances — the tension between seriousness and satire — that makes the company such a joy to watch.
At the time of its premiere in 1964 The Display shocked its audiences. Highly sexualized, violent and thoroughly modern, the ballet divided audiences and critics. But, seen in the context of Helpman’s life, the choices within the work begin to make sense.