On the eve of opening the latest Royal Ballet season of 'Onegin' Thiago Soares talks about one of his most inspirational roles, and a few other things too...
Tag - John Cranko
..., the first-night Juliet, Diana Vishneva, brought her understanding of MacMillan’s ballet ...to Lavrovsky’s older version.
Born in Paris in 1958, Isabelle Fokine is the daughter of Vitale Fokine and granddaughter of choreographer Mikhail Fokine. She is artistic director of the Fokine Estate Archive, which holds the worldwide copyright to his work.
In his programme note, Bintley claims to have foregone sexual romance in favour of ‘something more mystical and subtle’, connected with Japanese veneration of its Imperial family. It doesn’t resonate in this royal kingdom.
One of Bintley’s other notable commitments as Director is the rapid development of young dancers. For a graduating dance student, hungry for big roles, BRB is the company to aim for....
![Lusymay Di Stefano and Claudio Coviello in [I]Giselle[/I].© Marco Brescia and Rudy Amisano, Teatro alla Scala. (Click image for larger version)](https://dancetabs.com/wp-content/uploads/2014/03/mb-giselle-lusymay-di-stefano-claudio-coviello-death_360.jpg)
The Festival kicked off with two classical ballet companies presenting very different versions of the oldest and most celebrated Romantic ballets in the repertoire: a classic rendering of Giselle and a radically different take on La Sylphide...
Bintley has created a solidly entertaining family work that never bores but never soars to another emotional level, either...
So the company showed well enough to save the afternoon – but how much better they would look in a stronger piece.
Reid Anderson can certainly pick dancers and choreographers in the making. We really do need to see Stuttgart Ballet more often in order to keep up with his discoveries.
Earlier this month Smuin Ballet danced their XXtremes bill in San Francisco with works by Amy Seiwert, Jiri Kylian and Michael Smuin. Aimée Tsao with thoughts on the bill and where the company might be heading...
Bouvier’s concept is valid and interesting, the execution less satisfying. She is certainly a talented choreographer and produces some striking images...
Sadler's Sampled is back - with 6 companies showing the glorious breadth of dance that will be on at the theatre over the next few months.
Birmingham Royal Ballet are busy at the moment - we catch up with them touring a mixed bill, and at home in Coppelia - happy times...
The 12th International Ballet Festival - Dance Open - was held over 4 days in St Petersburg. Margaret Willis (our Ms Expressivity) was there to report on much ballet and not a little award giving...
Symphony in C, a luminous outpouring of legs and arms, crisp geometries, bobbing rhythms, and articulate patter-like conversations for the feet, is a vivid reminder of why one goes to the ballet at all. Luminosity and classical logic, laced with wit and intelligence.
If extravagant productions are the way to bring in new audiences and fill the till then they are justified for those reasons alone. However, they don’t necessarily leave a rich legacy for future generations.
The result is oddly old-fashioned - even more so than John Cranko’s version, which the Canadians had performed since 1964.
Rawsthorne was painted by André Derain and Pablo Picasso, and later by Francis Bacon. She was the inspiration for Alberto Giacometti’s etiolated sculptures of walking figures...
I first saw Onegin with Marcia Haydée and Richard Cragun when the Stuttgart Ballett made its New York debut in 1969. So when San Francisco Ballet premiered it in the 2011-12 season I was happy to meet an old acquaintance again.
Ideological qualms aside, White Haired Girl is an odd bird. The choreography is a hybrid between textbook classical vocabulary and Chinese opera, an idea interesting in itself but here executed with a lack of imagination...