The Royal Opera House has been celebrating International Women’s Day (8 March 2021) with a week of activities one of which saw international choreographer Pam Tanowitz in conversation with the Royal Ballet's Beatriz Stix-Brunell...
Tag - Pam Tanowitz
New York City Center is streaming some ballet master classes, curated and hosted by Alastair Macaulay, and involving Misty Copeland, Sara Mearns and Tiler Peck. The coaches/guests include Nina Ananiashvili, Merrill Ashley, Alessandra Ferri, Stephanie Saland and Pam Tanowitz.
Lynette Halewood with some reflections on London dance performances over the last year - the good and the less good...
Pam Tanowitz, well known in New York, just created her first work outside the States - for the Royal Ballet. It's been a critical success and Jann Parry (who gave the work 5 stars) finds out what makes her tick and why so many directors are seeking Tanowitz out...
★★★★★ Quite some achievement by Pam Tanowitz, to have followed treasured works by Cunningham and Ashton with one that pays homage to both, yet stands on its own as her distinctive tapestry of dance.
Featuring works by Merce Cunningham, Frederick Ashton and Pam Tanowitz. Gallery by Foteini Christofilopoulou...
★★★★✰ In her 'all at once', Tanowitz seems to have taken Taylor's 'Junction' as her starting point. Like that work, it is a paean to awkwardness...
★★★✰✰ Tanowitz is ideally placed to translate poetry into dance. Her vocabulary is effortlessly fluid with clear Cunningham/Graham/Brown influences and yet her own voice is strongly established.
★★★✰✰ In Bartók Ballet, which coexists but does not comment on the music, the dancers explore a huge range of steps and quotations...
★★★★✰ Tiler Peck, with her quick feet and sassy musicality, is perfectly suited to the role of Swanhilda. Her choreography has copious amounts of pointework, quick steps, requires adroitness in petit allegro and excellent mime technique – all of which Peck has in abundance.
★★★✰✰ All was danced with the quiet focus, lucidity, and unfussy delivery that characterize the company. No attention-grabbing fireworks...
★★★★✰ Structure and meaning lie at the heart of O’Connor’s work. With Undersweet he has achieved a perfect balance.
★★★✰✰ "There are choreographers who make one go hot and cold, and one of those, for me, is Pam Tanowitz."
For twelve years, the Fall for Dance festival has been going strong, and one can see why. No other dance series offer such an expansive, egalitarian and uncomplicated glimpse of what’s going on in dance...
The program presented at St. Mark’s this past week reflects all of these positive developments; even more, it seemed infused with a new sense of assurance and identity.
The company embraces the turn-of-the-20th-century Cecchetti Method, more concerned with anatomic integrity than with razzle-dazzle. Cecchetti’s motto is “purity of line, simplicity of style.” You get the idea.
An in-depth interview with the lady who helps bring Balanchine back...
Every Fall For Dance program is a bit of a pot luck, which is part of the festival’s charm. This year it has been expanded to twelve of performances (each costing $15, up from $10 last year)...
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.