I hope the company return to London, and if they do, I hope they bring some other Forsythe work.
Tag - Jiri Kylian
Ultimately this was a very human take on the 'Dream' - full of emotional punch, fun and bold movement in a clever modern staging. It's a production that you could take anywhere...
5 Questions to Northern Ballet's Hannah Bateman on dancing in something very different from normal - Hans van Manen's Concertante and working with the man himself...
The whole thing (Minus 16) wasn’t a piece of choreography so much as a choreographed event, and hands down one of the most delightful things I’ve ever seen.
At the end of Bye, a man nearby leapt to his feet and shouted “awesome”. She sure is.
The Smuin Ballet’s current season, Spring Bouquet, has one remarkable flower at its center. The ballet’s title, Petal, hardly does it justice in this metaphor since the work is far beyond the sum of its botanical parts.
Choreographer Christopher Wheeldon is currently at the San Francisco Ballet preparing for the American premiere of his Cinderella. He has a rehearsal in forty-five minutes so we quickly set off to discuss his latest full-length ballet and many other things...
Rojo has declared that her ambition as artistic director of ENB is to make audiences hold their breath. I certainly did during Le Jeune Homme et la Mort...
30 pictures by Dave Morgan...
Press Release 12 March 2013 SCOTTISH BALLET presents DANCE ODYSSEYS Edinburgh International Festival Festival Theatre Edinburgh Friday 16 – Monday 19 August 2013 Scottish Ballet invites Edinburgh International Festival audiences to experience dance differently this August with a four day journey into the curious, the conceptual and the most creative world of dance. Featuring world premieres...
Toba Singer talks to José Manuel Carreño: "Coming from Cuba, with the Cuban school you end up with a very strong foundation because you train so much in technique and partnering. These are two things that were very strong from the Cuban school, but on top of that, there was a lot of attention paid to the theatrical elements..."
Closing the program is Kurt Jooss’s anti-war ballet from 1932,The Green Table, one of the greatest pieces of choreography ever created and still relevant after more than 80 years.
It is refreshing to see Jiri Kylian’s repertoire performed by a mostly modern company, and the two works of his that completed the programme were danced with an encouraging sense of theatrical flair.
The company danced Serenade well but the very simplicity in its choreography, created as it was initially for students, ironically makes it hard to produce a perfect performance...
The Director of her own company at the Saarbrucken Opera House, she is in London to choreograph a new work, Labyrinth of Love, for Rambert Dance Company, the centrepiece of their autumn tour...
To be honest I don't think her first announcements are a landmark in repertoire terms - but it was never going to be unless some ballet fairy deposited a few extra million in the company coffers to allow instant change.
I loved the way the SFB dancers were so confident with the choreography (of Divertimento No 15), at ease after an understandably tense start.
Aimée Tsao, watching San Francisco Ballet for over 35 years now, with a general primer on the company and some thoughts on the repertoire they are bring to London in September 2012...
"I think for me the high point is that I don’t see Boston audiences as having any limitations. When I got here everybody was telling me what I couldn’t do and people warned me to play it safe. But I have found people extremely open and willing to explore and I’m really thrilled about that."
The company brought two contrasting programmes, one classical, In the Steps of Petipa, and one modern, 4 Tendances (Four Tendencies). Of the two, the dancers looked far more at home in the contemporary pieces...