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[Mme. Hermine]

Luke Jennings reviews the Maryinsky Ballet for The Observer:

http://www.guardian....-robbins-review

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On Thursday the company presented ballets by George Balanchine and Jerome Robbins. Not quite an all-American bill, because while Balanchine spent the last 50 years of his life in the US, and founded New York City Ballet, he was Russian-born and danced with the post-revolution Mariinsky. His Scotch Symphony, replete with misty ruins and ceremonial tartans and set to Mendelssohn, is less a tribute to Scotland itself than to the romantic ballets of 19th-century Paris, especially La Sylphide. The ghost of a story conceals dancing of rigorous exactitude, especially for the principal couple (Anastasia Matvienko and Alexander Sergeyev) who won well-deserved cheers.

[dirac]

Aspen Sante Fe Ballet  performs this month.

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Instead, the ballet organization is going with a choreographic team that is not known as choreographers at all. The centerpiece of the program on Monday, Aug. 8 (showtime is 8 p.m.) is a “Romeo and Juliet” created by Tom Mossbrucker and Jean-Philippe Malaty — known well as the founders and co-directors of the Aspen Santa Fe Ballet Company, visionaries who created a small, small-town company that has become internationally celebrated, but not known as choreographers.

In fact, the “Romeo and Juliet,” set to the familiar Prokofiev score, is the only piece, apart from the ASFB's version of “The Nutcracker,” that Mossbrucker and Malaty have created, either as a team or individually. It dates back to 1996, the second year of the ASFB company, when it was presented at the Wheeler Opera House. Mossbrucker said the piece has been remembered fondly.

[dirac]

A review of Maine Street Ballet in 'The Poet's Love' by Jennifer Brewer in The Portland Press Herald.

http://www.presshera...2011-08-08.html

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The performance was, quite simply, breathtaking. Miele has created one of those rare ballets that seem so integral to the music that they must be illustrating what was in the composer's mind during composition.

Engebreth's singing, with Alison d'Amato on piano, was beautiful and heartfelt. His voice has a wonderful purity, and his expressiveness, both vocally and physically, was perfectly suited to the ballet, subtly amplifying the emotional portrayal on stage without distracting from or overwhelming it.