Although Valerie Lawson's context is wide-ranging, she brings individuals into focus with personal details, shining a spotlight onto their roles in Australian dance history. Lavishly illustrated with photographs from Australian archives, her book gives vivid life to long-gone personalities.
Tag - Serge Lifar
★★★★✰ It’s impossible not to be impressed by the range of these works, from introspective and conversational (Symposium) to brilliantly classical (The Seasons) to dramatic (Dnieper).
★★★★✰ Putov brought together remarkable performers whom we long to see again, and left us wanting more...
Ivan Putrov's latest project, Against the Stream, gets its premiere on Sunday 7 April 2019 at the London Coliseum. Jann Parry finds out all about it...
★★★✰✰ Even after his death, Vaslav Nijinsky suffered from the power and control of others...
Vu-An writes in the programme that he has chosen the two ballets Soir de Fete and Pas de Dieux to make up an entertaining and enjoyable programme for the festive season. However, he has chosen two very contrasting and rather curious works...
Sutton was originally asked to write a brief account of Markova’s career for the Gotlieb Centre but soon realised that her subject’s life, personal and public, was so fascinating that she undertook a substantial biography
San Francisco Ballet is in town for two weeks, and on the evidence of opening night, this should be an invigorating visit. The company looks to be in top form.
Auction: Last memories of Serge Lifar. Russian ballet at the Opéra de Paris....
The highly anticipated world premiere of Wayne McGregor’s Borderlands, commissioned by SF Ballet, meets with a standing ovation.
Perhaps the best pas de deux of the evening, judging by the audience reaction, is one from Christopher Wheeldon’s After the Rain.
The festival was as intensive as ever, with three performances running on seven days, four on one day, some concurrently. The range and quality of dance overall was impressive.
The Honors are America’s highest award for those whose creative triumphs influenced and enhanced American culture. This is a celebration of their outstanding careers and extraordinary talents and appreciation of their unyielding commitment and contribution to the arts.
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.
Nicolas Le Riche was fabulously predatory in Bolero, a raging furnace of self-love and sex appeal. One imagines that after the show he must have ravaged a hundred virgins, but maybe he simply went home and soaked his feet in the tub, but in any case, he was magnificent, good taste (and choreography) be damned.
With its exquisite staging, and most importantly with its understanding and respect of the Romantic ballet style, and whole-hearted dedication of the dancers to their roles, the Paris Opera Ballet demonstrated just how Giselle should be produced and performed.
In format Suite en Blanc reminds me a little of Harald Lander's Etudes, and it certainly fulfils the same purpose in providing the company with a spectacular programme-closer. ENB may be going through a difficult period but they don't let it show on stage.