Benjamin Millepied, the new director of the Paris Opera Ballet, made a daring choice of programme for the Christmas season at the opulent Palais Garnier opera house: a triple bill of contemporary works...
Tag - Stravinsky
After a week of modernist works by Balanchine set mostly to Stravinsky, Hindemith, Webern, there’s no denying that a night of French music falls sweetly on the ear.
All three performances brought home the fact that this is a very strong company with the skills to perform any choreography that comes its way...
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...
Watching these three ballets, made over a span of thirty-two years, one can see how Balanchine’s style evolved toward the hyper-stylization of Violin Concerto...
ABT's run of Les Sylphides this season are different - after research, the company, under their musical director Ormsby Wilkins, have rediscovered a 1941 orchestration by Benjamin Britten. Marina Harss reveals all in conversation with Wilkins...
A Rite, in the hands of Jones, Bogart, and Wong, is the most startling and insightful version I have seen...
Jeu de Cartes, by Peter Martins, is jaunty and busy, a cross between the pas de deux in Balanchine’s Rubies, the trios in Danses Concertantes, and the non-stop action of Martins’ Fearful Symmetries....
The excellence of this work comes not just with Khan’s own enormous creativity and his tour-de-force performance but in the seamless integration of the inputs of his collaborative team...
5 Questions for Cathy Marston as she and Bern Ballett, the company she directs, prepare to show their latest work, Witch-hunt, at London's Royal Opera House...
The idea behind Amy Seiwert’s SKETCH 2 is to promote women ballet choreographers. Included in the press kit was an informal survey of twenty-four ballet companies with income over $5 million in the United States. Of the 302 works to be performed this upcoming season only 27 were by seventeen women.
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...
Firebird: To Williamson’s credit, the action, though baffling, never palls. He knows how to deploy a diverse cast, using an interesting vocabulary of classical ballet steps and partnering. He’s obviously fired up his dancers to commit themselves to their roles, flaunting their glitzy costumes with panache. But it’s a muddled piece, overpowered by Stravinsky’s myth-making music.
Symphony in Three Movements: This collaboration of two of the giants of 20th century art (Balanchine, Stravinsky) was clearly a marriage made in heaven, and thanks to Boston Ballet’s newest production, we got to attend the nuptials.
Balancing spectacular dancing with stirring drama, the Mariinsky dancers delivered a riveting, unforgettable performance. I left the Opera House with wonderful memories...