The Mariinsky Ballet are currently touring California and Claudia Bauer took the opportunity to see the rarely spied Raymonda. Viktoria Tereshkina and Vladimir Shklyarov were the leads...
Tag - Petipa
Martins' Swan Lake tries to be too many things to too many people.
The most recent Works & Process at the Guggenheim looked at Commedia dell’arte ballets from Petipa ("Les millions d'Arlequin") and Balanchine: "Harlequinade"...
With a feast of baroque extravagance that would please the Sun King himself David McAllister’s new Sleeping Beauty for the Australian Ballet is destined for a long life in the company’s repertoire.
Q: What have you learned about Petipa from the notations? Ans: Looking at the notations changed my taste. Honestly, I just can’t stand seeing productions of the classics any more, because I know how far it is from Petipa’s intentions...
Kateryna (Katja) Khaniukova, who has been dancing with English National Ballet these last 15 months, returned home to the company where she was a much loved principal dancer - Kiev Ballet. Graham Watts reports on the night and ballet in a country at war...
Two 2 casts reeviewed - led out by Stella Abrera and a guesting Marianela Nunez. But the star of Cinderella is the ballet itself – Ashton’s tribute to Petipa, to silliness, and to the power of childlike wonder...
Some of the great 19 century Russian ballet classics were recorded in Stepanov notation - Doug Fullington is one of the few people in the world who can understand Stepanov's hieroglyphics and what they represent for those looking to do justice to the past...
At 42, Acosta is still a powerful presence. A much-loved artist around the world, he is undoubtedly one of the greatest male dancers of his generation.
Perhaps the most striking element in Alexei Ratmansky’s new Sleeping Beauty for American Ballet Theatre is its musicality, the way the steps, peppered with accents and breaths, unspool within the music.
Principal dancers Mathilde Froustey and Carlos Quenedit were exactly what the audience wanted on opening night.
The gala opened with the Act III wedding pas de deux from The Sleeping Beauty, performed by Ekaterina Osmolkina and Guiseppe Picone. No fish-dives in this version – the Russians regard them as vulgar, and Osmolkina could never be vulgar.
If Harlequinade is somewhat less than the sum of its parts, Square Dance (1957), which preceded it on the program, never fails to lift the heart.
More from the NYCB Winter Season with Marina Harss reviewing 2 bills made up of 6 works: Concerto Barocco, The Goldberg Variations, Symphonic Dances, The Cage, Andantino and Cortege Hongrois...
If you really think about it, Swan Lake is, for lack of a better phrase, an odd duck...
This is a musical that will certainly delight all dance lovers: the theme of ballet permeates the show from start to finish.
The idea behind the triptych is to show three aspects of the company’s style: the classicism and character dance of Petipa; the technical pizzazz of mid-twentieth-century Soviet dance, the eccentricities and atmospherics of contemporary movement...
At my first performance, Ashley Ellis was a first-rate Odette/Odile, giving a nearly flawless performance. (I’m assuming that flawless performances transpire only in Heaven or some other extraterrestial locale.)
Having wowed London with three acclaimed seasons over the last six years, at last the Mikhailovsky Ballet make their American debut in NY. Lisa Snyder introduces the company and its repertoire...
"It was a hell of a performance." Marina Harss on Jerome Robbins’ Fancy Free.