Dance on film is a tricky thing. On the one hand it provides a unique opportunity to see dance up close and to see foreign repertoires and artists; on the other, it lacks the intangible live chemistry that can electrify an opera house.
Tag - Frederick Ashton
Monotones II: Audiences are now accustomed to the manic acrobatic contortions of modern choreography, so it is rewarding to see the rigour with which the three performers (Marianela Nunez, Valeri Hristov and Edward Watson) control their elasticity.
Gallery by Dave Morgan...
The Royal Ballet’s 2015/2016 season is providing big opportunities for James Hay, promoted to First Soloist in June...
Without a doubt, the most eccentric piece on the program is Gabrielle Lamb’s I Am a Woman: Moult, originally commissioned as part of an evening of works by women choreographers. (A noble cause.) ...
ABT galas are more laid-back than City Ballet’s; they’re less “produced,” with fewer speeches or slick video presentations. For the most part, the company just gets on with the show, with minimum fuss.
The 28-strong cast rose to the challenge of Themes and Variations, with its tricky footwork and complicated formations...
David Drew, for 56 years a member of The Royal Ballet, has died after a long battle with illness. He described himself as one of a ‘bridge generation’ of dancers. The longevity of his career meant that he worked with many figures from the Ballets Russees – but also taught many dancers and choreographers working today.
Some partnership work because the dancers are so different and others, as here, work because they share a style and approach - unaffected, nuanced, true and richly musical.
Cornejo is a splendid actor, as well as partner, but Ferri’s anguish is the tortured heart of the piece. Clarke has enabled her to be her age, a mature woman with a still-youthful body and ever- passionate emotions...
Scottish Ballet's autumn bill is an uplifting affair with everything on it new to the company...
The Japan Society consistently offers up some of the most eye-opening, refined evenings of music and dance in New York. One senses a real care in the curation...
Hofesh Schechter joins the ranks of choreographers who have directed (or co-directed in Schechter’s case, along with John Fulljames) Gluck’s Orpheus opera: they include Frederick Ashton, Kenneth MacMillan, Pina Bausch and Mark Morris, among others.
Ballet Estable del Teatro Colon, Buenos Aires recently lived streamed Ashton's "Sylvia" from their home theatre. Graham Watts tuned in from a remote North Norfolk - it's a small world...
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...
I thought this year's Royal Ballet School (RBS) performance on the main Royal Opera House stage was pretty damn' good.
The Royal Ballet's Zenaida Yanowsky talks about her long career and also about the joys of working with Carlos Acosta - part of which is appearing with him in 'Cubania' this summer...
Wheeldon has two problems to contend with in Cinderella: Prokofiev’s prescriptive score and Ashton’s definitive choreography from 1948...
Two 2 casts reeviewed - led out by Stella Abrera and a guesting Marianela Nunez. But the star of Cinderella is the ballet itself – Ashton’s tribute to Petipa, to silliness, and to the power of childlike wonder...
These are dancers worth following in a wide repertory of works; it’s a shame to see them go while feeling we’ve barely gotten to know them better.