The choreography looks like a steroid-fueled hybrid of Graham-based agony and the precision and fluidity of classical ballet. ...nothing succeeds like excess...
Tag - Paris
Auction: Last memories of Serge Lifar. Russian ballet at the Opéra de Paris....
On the eve of a UK tour 5 Les Ballets Trockadero de Monte Carlo ballerinas reveal all...
It’s not every day Petipa’s carefree Don Quixote comes with a health and safety warning. ...Injuries played havoc with the casting throughout November and December...
The company premiere of The Prodigal Son was the centerpiece and highlight of the Suzanne Farrell Ballet’s second all-Balanchine program at the Kennedy Center Eisenhower Theater - a program that also included Divertimento No. 15 and Slaughter on Tenth Avenue.
The company danced Serenade well but the very simplicity in its choreography, created as it was initially for students, ironically makes it hard to produce a perfect performance...
The Cuban schooling of Hopuy is impressive and his variation was expertly danced, including the trademark Cuban flicking over of the take-off leg in a jeté en tournant...
...Bart's a gifted and discerning artist, with a deep understanding of the Opera's heritage and style. Rather than trying to "recreate" the long-forgotten original choreography by Arthur St. Leon, Bart's made a new work that feels old, as if it had long been a warhorse of the Opera's repertory, subject to over a century of vagaries in taste and technique, yet emerging today all the richer for the...
Ould-Braham had just been made étoile and her performance seemed, to me, buoyed by an extra layer of joy and happiness. Hoffalt was completely at ease in both technique and characterization. When they celebrated their wedding onstage, the audience went crazy.
The seven works I saw over two nights started with Aureole and ended with Esplanade, and even in these less than perfect circumstances it's impossible to resist the enchantment of these two masterpieces. Aureole especially seems to me the essence of Paul Taylor...
As Manon, Dupont started out as sweet and innocent. Overall, her Manon seemed almost empty, like a vessel for people to put eroticism into or to act upon.
While all the young people were lovely to watch, Roxane Stojanov, the girl in yellow, stood out. She had the fullest extension of arms and upper body, the lushest movement quality. It would seem great things are expected of her, as she was cast in every part of the program.
At the end the curtain came up once again, and Brigitte Lefèvre (artistic director of the ballet) and Nicolas Joel (director of the opera as a whole) emerged to announce the promotion of the evening’s Solor, Josua Hoffalt, to the ultimate rank: étoile. There were buckets of tears, from Hoffalt, Gilbert, and Dupont. In fact, it was the high point of the evening. An uncontrolled release of emotion...