A preview of what's ahead for Houston Ballet by Molly Glentzer in The Houston Chronicle.
Among six new works entering the company's rep next season are its first commissions for up-and-coming choreographers Aszure Barton and Edwaard Liang, a new version of Igor Stravinsky's The Rite of Spring from artistic director Stanton Welch, and company premieres of some classic oldies but goodies - George Balanchine's Ballet Imperial (1941), Mark Morris' Pacific (1995) and Twyla Tharp's The Brahms-Haydn Variations (2000).
0
Friday, January 20
Started by
dirac
, Jan 20 2012 11:34 AM
17 replies to this topic
#17
- Board Moderator
-
- 20,790 posts
Diamonds Circle
Posted 21 January 2012 - 11:31 PM
Johan Kobborg makes a new work for Sarasota Ballet.
“I don’t think I was born to be a choreographer,” Kobborg said recently, at the end of a long day staging his “Salute” for the Sarasota Ballet’s “Made in America” program next weekend. “It’s a calling, and I think you must start at a very young age, and maybe because dancing alone is not enough for you.”
That was never the case for Kobborg, who came to ballet relatively late, at the age of 14, after years performing in musical theater. It wasn’t until 1995, when he re-staged “La Sylphide,” recreating some of the “lost” sections of the historic ballet in the Bournonville style, that he even considered making something of his own. And it took another decade before he crafted his first original piece, “Les Lutins” (“The Goblins”), a short work choreographed specifically to suit the gifts of two Royal male dancers.
“I don’t think I was born to be a choreographer,” Kobborg said recently, at the end of a long day staging his “Salute” for the Sarasota Ballet’s “Made in America” program next weekend. “It’s a calling, and I think you must start at a very young age, and maybe because dancing alone is not enough for you.”
That was never the case for Kobborg, who came to ballet relatively late, at the age of 14, after years performing in musical theater. It wasn’t until 1995, when he re-staged “La Sylphide,” recreating some of the “lost” sections of the historic ballet in the Bournonville style, that he even considered making something of his own. And it took another decade before he crafted his first original piece, “Les Lutins” (“The Goblins”), a short work choreographed specifically to suit the gifts of two Royal male dancers.
#18
- Board Moderator
-
- 20,790 posts
Diamonds Circle
Posted 21 January 2012 - 11:34 PM
New York City Ballet celebrates George Balanchine's108th birthday tomorrow. (Scroll down)
...There is a prematinee panel discussion between former and current City Ballet dancers, talking about working with the master and what it’s like to learn the ballets at a remove. There is a postperformance, onstage demonstration by the School of American Ballet students. And, of course, there is the show itself, featuring “Who Cares” and “Union Jack,” two Balanchine works that offer both brilliant entertainment and glorious choreography, with splendiferous casts...
...There is a prematinee panel discussion between former and current City Ballet dancers, talking about working with the master and what it’s like to learn the ballets at a remove. There is a postperformance, onstage demonstration by the School of American Ballet students. And, of course, there is the show itself, featuring “Who Cares” and “Union Jack,” two Balanchine works that offer both brilliant entertainment and glorious choreography, with splendiferous casts...
0 user(s) are reading this topic
members, guests, anonymous users
Help support Ballet Alert! and Ballet Talk for Dancers year round by using this search box for your amazon.com purchases:
