On Sunday, American Ballet Theatre’s two-week fall season draws to a close. By most measures, it’s been a success...
Tag - Julie Kent
It’s good to see the company perform Sylphides again after a hiatus of eight years. The style hasn’t eroded. ...The dancers believe in it.
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...
Has there ever been a more sensitive, sympathetic chronicler of that inner flutter brought on by the onset of love than Frederick Ashton? It seems unlikely, on the evidence of ABT's premiere of A Month in the Country...
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.
...with choreographic masterpieces by George Balanchine and José Limón and a Washington D.C. premiere of Alexei Ratmansky’s new work, this ABT program was in every way a balletomane’s dream come true.
An in-depth interview with the lady who helps bring Balanchine back...
It was a program that harkened back to the big international Galas of previous years, as well as a nice reference to the company’s first years, when artists including Sonia Arova, Erik Bruhn, Margot Fonteyn and Rudolf Nureyev guest-starred.
The highlight of the gala was the seventieth-anniversary performance of Agnes De Mille’s Rodeo, preceded by a short film describing its creation, with archival footage of the hilariously histrionic, diminutive choreographer.
"It’s very lonely out there... I mean, it would be nice to have some sort of mentorship with regard to what it takes to be a choreographer."