★★★✰✰ 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.
Tag - Concerto DSCH
★★★✰✰ The vitality and drive of the troupe was palpable Wednesday night, as was a sense of collective energy to move forward – however rocky that movement might be.
★★★★★ Alexei Ratmansky’s Odessa left me breathless. The dancing (I saw both casts) was phenomenal on all levels: assured, expressive, and thoroughly dramatic.
★★★✰✰ The pattern is set: the company commissions works from three or four choreographers, often quite young, and pairs them with prominent designers. The works are short, and are introduced by filmlets...
★★★✰✰ It wouldn’t be spring without ballet galas. This week it was New York City Ballet’s turn. On the program were two new works, by Christopher Wheeldon and the relatively unknown Nicolas Blanc, the latter a veteran of the New York Choreographic Institute.
Lynette Halewood with her personal selection of London dance memories this last year…
At the risk of sounding like a broken record, is there a ballet choreographer working today who is more imaginative, more wholly himself, than Alexei Ratmansky?
Vishneva as Cinderella has an endearing ability to share her happiness with the audience and casts a warm glow over the entire production.
"This is how ecstasy is danced." Kimin Kim in Concerto DSCH.
Gallery by Foteini Christofilopoulou...
Two young NYCB choreographers have been out talking and showing what they do: Justin Peck at the Guggenheim and Troy Schumacher at the 92nd Street Y. Marina Harss on why they are so worth tracking...
One feels as Débussy did when he wrote, at the end of the nineteenth century, that “amid too many silly ballets, Lalo’s Namouna is something of a masterpiece.”
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...
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.
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.
It’s a good thing indeed when a visit to the ballet turns out to be a night full of surprises, all of them good.
Tonight’s premiere of Ratmansky's newest work for American Ballet Theatre, Symphony #9, was cause for celebration. In fact, it left me feeling almost lightheaded, and terribly eager to see it again, as soon as possible.
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.
I think it's safe to say that neither of the new works knocked the planet off its axis...
La Scala Ballet is often dismissed as a company without depth, a haven for international guest artists living on a steady regime of full-length ballets. And yet Makhar Vaziev, who left the Mariinsky to take the helm in Milan in 2008, has been taking on more ambitious projects, one baby step at a time...