Jann Parry reviews Scènes de ballet, Five Brahms Waltzes, Symphonic Variations and A Month in the Country...
Tag - Igor Stravinsky
Puppeteer Basil Twist is pushing boundaries again in New York as part of the White Light Festival, with a triple bill based on Stravinsky...
Kenneth Archer and Millicent Hodson have contributed a number of articles to DanceTabs and before that ballet.co.uk. Their last piece, on ‘Jeux’ reaching its centenary in 2013, can be found here and includes links to other articles, either by them or about their work. The Lost Rite Millicent Hodson, Kenneth Archer, Shira Klasmer KMS Press ISBN 099 287 5803, paperback, 250 pages, £54...
One cannot help but be amazed by the number of exceptional women in the company, and by how differently they approach the steps, the music and the temperament of each ballet.
Lloyd has written widely on English composers and is meticulous in combing together many fragmentary impressions of Lambert. The book weighs over 1.5 kilos, 419 pages of small print, most heavily annotated in smaller print still, with a further 150 pages of appendices.
Viktoria Tereshkina has a warm personality and this enhances her dancing. She has long thin limbs and offers expansive port de bras, while her legs whip up effortlessly but with control.
...the dancers seem able to handle whatever comes their way. It’s a quality that will serve them well in their travels.
To close its 50th anniversary season Boston Ballet mounted a splendid production of Balanchine’s 1967 masterpiece Jewels.
Justin Peck has gone from unknown corps-member to choreographer-of-the-moment in a blink of an eye. (He created his first piece for the company in 2012; this is his sixth.)
In many ways, Jewels is Balanchine’s choreographic résumé – a retrospective and a vivid showcase of his aesthetics and creative genius...
Stravinsky’s is a bitter tale with folk roots, about a soldier (played by the convincingly guileless, agile Tom Pecinka) returning home from the front who is sidetracked by the devil....
George Balanchine’s favorite composers may have been Stravinsky and Tchaikovsky, but it’s no secret that he also had an affinity for France and its music...
Lynette Halewood with her personal selection of London dance memories this last year...
This is as powerful as dance theatre gets and a bill that connects and chimes with us all.
...offered a perfect Balanchine sampler, bringing together an assortment of ballets, full of unexpected juxtapositions, from very different periods of the choreographer’s long career.
An imaginatively contrasting double-bill, it pulled in audiences and left them buzzing.
What most struck me on this particular evening was the transparency, and clarity of intention, that marked each work.
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...
The Tribute bill is a well-chosen one... The season has been so short that the dancers haven’t had time to grow into their roles. They look as though they’re remembering instructions rather than relishing the ballets.
An apologetic Liepa promised to return for a week next time and bring the new Cleopatra with him, but this was an unsatisfying evening in its current form.