When it was announced that Mark Morris would choreograph a new piece for Philadelphia’s Voloshky Ukrainian Dance Ensemble, the collaboration sounded promising.
Tag - Mark Morris
The best thing about being at SFB is that I got to work with so many choreographers. It inspired me so much.
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...
It is something of a cliché to say it, but the guiding principle of Morris’s Dido - as in the more recent Socrates - is simplicity. No single element - musc, words, dance - is privileged above the others.
Once in a while we experience one of those serendipitous evenings in which we show up with few expectations, only to encounter an oasis of structure, understated virtuosity and, best of all, musical intelligence.
"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."
Bausch is a mystery. To some, she represents the summit of poetry and expression, worthy of a cult-like following. Clearly, these dancers derive great emotional sustenance from performing her work. And it suits them. But, with the exception of Gillot’s solo and a few moments here and there, it left me cold.
The Chicago Dancing Festival today announces that free tickets for the Festival’s 6th annual series of dance performances will become available to the general public beginning Tuesday, July 17.
And I also love the fact that the city built this huge building to recognize classical ballet. Here in Texas we have the biggest monument to classical ballet in North America. That’s very cool. It was funded completely by private giving — from people who love the art, people who love classical ballet. That’s so exciting!
True to style, San Francisco Ballet Artistic Director & Principal Choreographer Helgi Tomasson is showcasing his dancers in a highly varied programme of ten short works – no fewer than nine of them UK premieres – for their long-awaited return to the London stage.
It’s hard to top Morris’s dancers for spontaneity, dramatic force, and exhilarating energy. On opening night, the dancing was nothing less than brilliant: From the opening “Mad Crossing” to the concluding “Finale,” the cast commanded the stage, dancing with sheer joy and élan, compelling the audience at the end of the performance into a thunderous standing ovation.