"L’apres-midi d’un faune" tag
New York City Ballet in The Concert.© Paul Kolnik. (Click image for larger version)

New York City Ballet – All Robbins No. 4 bill – New York

★★★★✰   It was a good night for Afternoon of a Faun, in particular. Chase Finlay, débuting in the role of the young dancer sensually lolling about a ballet studio, brought back the eroticism this ballet often lacks.

Constance Devernay and Sophie Martin in Le Baiser de la fee (The Fairy's Kiss).© Dave Morgan, courtesy the Royal Opera House. (Click image for larger version)

MacMillan Celebrations – Le Baiser de la fee (SB), Concerto (BRB), Jeux (RB) – London

  In the first of the mixed bills celebrating Kenneth MacMillan’s ballets, 25 years after his death, “Le Baiser de la fée” intrigued me because the questions it posed about his development as a choreographer…

Seated nude folding forward. Auguste Rodin, 1910/11. Pencil with stump on paper.© Musée Rodin, Paris, France. (Click image for larger version)

Exhibition – Rodin and Dance: The Essence of Movement – London

★★✰✰✰   …of more interest to Rodin scholars than dance-lovers.

Alexandre Riabko in Nijinsky.© Jeff Busby. (Click image for larger version)

Australian Ballet – Nijinsky – Melbourne

★★★✰✰   Even after his death, Vaslav Nijinsky suffered from the power and control of others…

Alice Renavand in Le Sacre du Printemps.© Julien Benhamou / Opéra national de Paris. (Click image for larger version)

Paris Opera Ballet – Polyphonia, Alea Sands, Le Sacre du printemps – Paris

Benjamin Millepied, the new director of the Paris Opera Ballet, made a daring choice of programme for the Christmas season at the opulent Palais Garnier opera house: a triple bill of contemporary works…

Sasha Waltz & Guests in Sacre.© Foteini Christofilopoulou. (Click image for larger version)

Gallery – Sasha Waltz & Guests in Sacre triple bill

Gallery by Foteini Christofilopoulou…

Ivan Putrov.© Elliott Franks. (Click image for larger version)

Ivan Putrov – Men in Motion – Lodz Ballet Festival

The most impressive (if not, incredible) thing is that his scratch company exudes the professionalism that one would expect from a tight-knit group that has lived, trained, rehearsed and performed together for seasons.

Sylvie Guillem and Russell Maliphant in Push, taken in 2005. From a John Ross Gallery of 6 images.© John Ross.

2014 Dance Memories – London

Lynette Halewood with her personal selection of London dance memories this last year…

Nicolas Le Riche farewell - final curtain calls.© Sébastien Mathé / Opéra national de Paris. (Click image for larger version)

Paris Opera Ballet – Nicolas Le Riche Farwell Gala – Paris

Only the official retirement age of 42 requires him to leave the company, alas, though he may be invited back as a guest.

Paul White in the studio preparing Anatomy of an Afternoon.© Paul Hyde. (Click image for larger version)

Paul White – Anatomy of an Afternoon – London

It’s a really demanding work, and the intimate setting of the Purcell Room brings you up close to every drop of sweat.

Boston Ballet in Balanchine's Symphony in Three Movements.© Gene Schiavone. (Click image for larger version)

Boston Ballet – Program B: Symphony in Three Movements, L’Apres-Midi d’un Faune, Plan to B, Bella Figura – New York

…the dancers seem able to handle whatever comes their way. It’s a quality that will serve them well in their travels.

Marjin Rademaker and Edward Watson in Javier de Frutos' 3 with D.© Dave Morgan. (Click image for larger version)

Ivan Putrov – Men in Motion (2014) – London

…the men Ivan Putrov has chosen for his latest Men in Motion programme are exceptional dance-interpreters, not self-glorifiers…

Ivan Putrov.© Dave Morgan. (Click image for larger version)

Ivan Putrov – Dancer, Choreographer and Director of Men in Motion

“I want audiences to leave inspired, not scratching themselves in boredom.”

Russian Ballet Icons – Nijinsky Gala – London

Though this year it was Nijinsky’s turn to be reclaimed as a Russian icon, the contents of the gala had little to do with him. Very probably the choice of items – mainly pas de deux – depended on which dancers were available to perform whatever was in their repertoire.

© Joffrey Ballet

The Joffrey Ballet – Age of Innocence, After the Rain, The Green Table – San Francisco

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.

Rambert Dance Company in Monolith.© Chris Nash. (Click image for larger version)

Rambert Dance Company – Hush, Monolith, Faune, What Wild Ecstasy – Hong Kong

The choice of programme was something of a curate’s egg – disappointingly so in view of the company’s rich repertoire – but two out of the four works were excellent and the dancing was spectacular.

Dane Hurst in L'après-midi d'un faune. © Dave Morgan. (Click image for larger version)

Rambert Dance Company – What Wild Ecstasy, SUB, Faun, Art of Touch – London

Rambert… offers a mix of new commissions with rarely-seen work from their archives. Some items had much more impact than others, though not necessarily the ones you might imagine from the programme.

Otis-Cameron Carr and Antonette Dayrit in Mark Baldwin's What Wild Ecstasy. © Dave Morgan. (Click image for larger version)

Gallery – Rambert Dance Company in L’après-midi d’un faune and What Wild Ecstasy

27 Pictures by Dave Morgan

DanceTabs © 2019 All Rights Reserved

© All here is copyright DanceTabs and the author concerned. Do not steal our words or pictures please. Thank you.