★★★✰✰ The dance comments, illustrates and riffs on ideas and sounds in the music. Like Marsalis’s compositions, it’s neither banally literal, nor thoroughly abstract, but lies somewhere in the middle, deriving its inspiration and energy from currents in the music.
Tag - Damian Woetzel
★★★★✰ After watching two of the four programs, a few things stand out. Firstly, it is clear that this is no simple gala, despite the format; there is a strong personal esthetic and philosophy at work behind the programs.
For the second year in a row, the Fall for Dance Festival began with a pair of performances at the outdoor Delacorte Theatre in Central Park, one of the most enchanting spots in the city.
When he begins to move, you are not just impressed by what he’s doing – which is impressive enough – but also touched by the quiet joy and purity of expression that emanates from his body and eyes.
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.
On the eve of the Clive Barnes Foundation announcing its annual awards we interview Valerie Taylor-Barnes, the great critics widow, about her life in dance (including the Royal Ballet) and the work of the Foundation...