Dancing alone, Beamish introduces his movement: silky smooth shifts, surprising twitches, lines of energy rolling through the body...
Tag - Shostakovich
Ruth Brill's Matryoshka showed a lot of sense and maturity I thought - she clearly thinks about entertaining the audience.
Margaret Willis has just been in St. Petersburg, catching up with the Dance Open Festival and also visiting the Vaganova Academy where she had some words with director Nikolai Tsiskaridze...
This year‘s highlight was an exuberant piece from Marcelino Sambé which provided a lively closer to an otherwise rather downbeat programme.
'Rōdē,ō: Four Dance Episodes premiere: It turns out that this combination of male vigor, Copland, and Peck is a felicitous one.
But, for the ballet to work it has to be danced with conviction and joy, and this is what the Mikhailovsky pulls off marvelously well.
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...
"This is how ecstasy is danced." Kimin Kim in Concerto DSCH.
Graham Watts met up with the choreographer on a recent visit to St Petersburg to discuss his career and to ask what London audiences might expect from Rodin...
Do you perceive a difference between the musicality of American dancers and that of Russian dancers? AR: There is a huge difference in the musicality. I often found Russian dancers unmusical... But they have other qualities...
Symphony in C, a luminous outpouring of legs and arms, crisp geometries, bobbing rhythms, and articulate patter-like conversations for the feet, is a vivid reminder of why one goes to the ballet at all. Luminosity and classical logic, laced with wit and intelligence.
The season began with a high-energy mixed bill which showed the company on sparkling form.
It’s a good thing indeed when a visit to the ballet turns out to be a night full of surprises, all of them good.
Well, performing for me is really about that experience of giving to the audience. In the studio you work and perfect things, you collaborate with your partner, but for me it’s about what happens on the stage, the ability to give something, to your partner, to the audience.
Tonight’s premiere of Ratmansky's newest work for American Ballet Theatre, Symphony #9, was cause for celebration. In fact, it left me feeling almost lightheaded, and terribly eager to see it again, as soon as possible.
The highlight of the gala was the seventieth-anniversary performance of Agnes De Mille’s Rodeo, preceded by a short film describing its creation, with archival footage of the hilariously histrionic, diminutive choreographer.
What was curious about A Wooden Tree is that it did not include much dancing in the traditional sense. It was as if Morris had decided to do an experiment: to make a dance with as little dancing as possible, practically a pantomime.
It’s becoming something of a New York City Ballet tradition to start off the season with, if not a whimper, then let’s say a less-than-stellar performance. Perhaps it’s a kind of exorcism, a ritual cleansing. Maybe that’s why the gala usually takes place a few days later...
'Storyville' is a familiar morality tale, but Cira Robinson’s heartfelt commitment as Lola makes us care anew. Hampson has indeed turned her into a star... 'Captured' is a triumph for the company and Martin Lawrance, the choreographer.