"Pierre Lacotte" tag
Mariinsky Ballet in Paquita.© Darian Volkova. (Click image for larger version)

Mariinsky Ballet – Paquita – Washington

★★★✰✰   This three-act three-hour-long Paquita is a brainchild of Smekalov, who is a second soloist with the company. He wrote his own libretto, largely borrowing from the Cervantes novella La Gitanilla…

Michaela DePrince in Balanchine's Tarantella.© VAM/ Siggul. (Click image for larger version)

Youth America Grand Prix – Gala 2016 – New York

★★✰✰✰   Like all galas, this was quite a mixed bag. Over 200 students trooped on and offstage in a veritable tornado of activity before the veteran YAGP dancers stepped out for the showstopping stuff…

Doug Fullington, in the studio with Marian Smith, working on Giselle at Pacific Northwest Ballet.© Angela Sterling. (Click image for larger version)

Doug Fullington – on Stepanov Notation

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…

Russian Ballet Icons – Nijinsky Gala – London

Though this year it was Nijinsky’s turn to be reclaimed as a Russian icon, the contents of the gala had little to do with him. Very probably the choice of items – mainly pas de deux – depended on which dancers were available to perform whatever was in their repertoire.

Marie-Agnes Gillot and Jeremie Belingard in The Prodigal Son.© Sebastien Mathe / OnP. (Click image for larger version)

Paris Opera Ballet – Serenade, The Prodigal Son, Agon – Paris

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…

Karl Paquette (Djémil) in La Source.© Anne Deniau. (Click image for larger version)

Paris Opera Ballet – La Source – HD cinema broadcast

…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 experience, and eloquent of its history.

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