Now thirty-one Carla Korbes has grown up to become one of America’s most remarkable ballerinas. Her recent performance of Terpsichore’s duet with Apollo at the Guggenheim was one of the most touchingly natural and innately musical interpretations I’ve seen.
Tag - New York
N.Y. Export: Opus Jazz is certainly not Robbins’ finest or most original work but perhaps because of its relative straightforwardness, it reveals much about what is so remarkable about this choreographer.
An in-depth interview with the lady who helps bring Balanchine back...
It’s a good thing indeed when a visit to the ballet turns out to be a night full of surprises, all of them good.
Is there a ballet more deceptive than Balanchine’s Divertimento from ‘Le Baiser de la Fée’? If so, I’m not aware of it.
What one does not see much of, at least at first glance, is nostalgia for the motherland. “I never had nostalgia about anything,” Baryshnikov says.
On the eve of a UK tour 5 Les Ballets Trockadero de Monte Carlo ballerinas reveal all...
Which brings me to Ángel Muñoz who, with Peña, is the real star of the show. The two couldn’t be more different: Peña is all interiority and nuance, while Muñoz is all bluster and instinct.
Eiko and Koma are now in their sixties. What stays with you is the image of those bodies, tormented, trembling, vulnerable, but ultimately indestructible.
...it’s that ambiguity in their performances — the tension between seriousness and satire — that makes the company such a joy to watch.
...it’s remarkable how satisfying the old-fashioned virtues of structure and form can be.
In many respects Abraham's 'Another Night' is a typical Ailey work: its score is upbeat, its costumes are colorful and the dancing is fast and athletic.
More than sculpture, the choreography reminded me of exhibitions of body-building.
On the eve of the Clive Barnes Foundation announcing its annual awards we interview Valerie Taylor-Barnes, the great critics widow, about her life in dance (including the Royal Ballet) and the work of the Foundation...
Tere O’Connor can be a frustrating choreographer. Look for structure and you’ll likely be thwarted, frustrated, or worse. Because it clearly is there, but you can’t understand it.
Over the course of an hour and a half the story is told, more or less, twice: first in swift pantomime (aided by projections) and then in a series of more intensely danced interludes.
Well, performing for me is really about that experience of giving to the audience. In the studio you work and perfect things, you collaborate with your partner, but for me it’s about what happens on the stage, the ability to give something, to your partner, to the audience.
When something is beautifully made it never gets old. So it is with Balanchine’s Nutcracker, first performed by New York City Ballet in 1954 and honed to near-perfection over the years.
...once she begins to dance, words become irrelevant: the clarity and detail of her dancing leaves no room for ambiguity or doubt. Like a master story-teller she is able to change registers and points of view in the course of a single solo...
The Unkindness of Ravens - collaborative efforts are not easy, especially when they are cooked up over a short period. The two companies are just similar enough - contemporary, ballet-based - to make the project even more complicated.