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...
Tag - Apollo
But 'A Place for Us' (new Wheeldon) feels like a bauble, not quite a jewel.
So how long does he see himself staying on the far side of America? “Well, I am just about to sign another six year contract,” he grinned...
This triple bill, with two world premieres, shows how ably choreographers 85 years apart can refresh the language of classical ballet without distorting it beyond recognition.
27 pictures by Dave Morgan...
In New York one can begin to feel proprietary about Balanchine, to form the illusion that his choreography is a local specialty, the province of a select group of dancers, all of them employees of New York City Ballet. But this is mere local pride.
Now thirty-one Carla Korbes has grown up to become one of America’s most remarkable ballerinas. Her recent performance of Terpsichore’s duet with Apollo at the Guggenheim was one of the most touchingly natural and innately musical interpretations I’ve seen.
An in-depth interview with the lady who helps bring Balanchine back...
The festival was as intensive as ever, with three performances running on seven days, four on one day, some concurrently. The range and quality of dance overall was impressive.
The company premiere of The Prodigal Son was the centerpiece and highlight of the Suzanne Farrell Ballet’s second all-Balanchine program at the Kennedy Center Eisenhower Theater - a program that also included Divertimento No. 15 and Slaughter on Tenth Avenue.
Every Fall For Dance program is a bit of a pot luck, which is part of the festival’s charm. This year it has been expanded to twelve of performances (each costing $15, up from $10 last year)...
I’ve noticed two troubling trends this season at New York City Ballet. Perhaps they are connected. The first is the creeping tendency toward stolid tempi from the pit...
What is there to say about Orpheus, except that it seems to slip deeper into the recesses of time? I’ve read that at the première, the critic and poet Edwin Denby was so moved by it that he sat dumbfounded during intermission, unable to stand. It is difficult to imagine such a reaction today.
A 40-hour round trip to watch a ballet gala on the other side of the world might be seen as a trifle obsessive by some and perhaps it is. But galas tend to be two a penny these days and this one was certainly very different, both in terms of being in aid of a unique and wonderful cause and in the spectacular diversity of remarkable dancing...
Nicolas Le Riche was fabulously predatory in Bolero, a raging furnace of self-love and sex appeal. One imagines that after the show he must have ravaged a hundred virgins, but maybe he simply went home and soaked his feet in the tub, but in any case, he was magnificent, good taste (and choreography) be damned.
My nickname in BRB used to be Bastard - and something happened with Ballet Hoo! - I don't know whether it's my age, or the kids we worked with, but it made me realise that you can get the best out of dancers and students by coming in on a certain level and talking to them on a certain level - not always shouting. I do shout still, I do get very angry...
Sometimes the second time is the charm. This seems to be especially true when it comes to new ballets by Alexei Ratmansky. Often, they’re not easy to take in on first viewing, indigestible as an over-rich meal. But then, something in us changes, our eye evolves.
Every May for the past nine years the SFIAF presented an amazing array of live music, theater and dance from all over the world. Most of these performers would never be seen here in San Francisco if it weren’t for festival director Andrew Wood’s fanatic desire to bring as many diverse groups as the limited budget will allow.
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.
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.