It proved to be a brilliant career, although short, as dance careers often are. George Balanchine had launched the New York City Ballet in the late 1940s, and Inglis danced with that group from 1952 to 1957, including tours each summer in Europe. During that time, she worked with both Balanchine and Jerome Robbins. Even all these years later, she still sounds a bit awed when she talks about Balanchine: “No one called him George. He was always Mr. Balanchine or Mr. B.”
She quit the dance stage when the first of her three children was born, and went on to open her ballet school in New Jersey.
Friday, February 24
Posted 24 February 2012 - 12:31 PM
Posted 24 February 2012 - 12:33 PM
The Stravinsky sections look even more like Balanchine, but not unpleasantly so. Yet the work is predictable, even when Andersen isn’t paying homage to his masters. His modern duet to contemporary composer Arvo PÃ¤rt is, unsurprisingly, very earnest and danced in very little clothing.
If the dances are tepid, the dancers are cool — and that’s what makes Ballet Arizona hot. Andersen was one of the most stylish yet unaffected dancers of his day. His company shares many of his best attributes, and his dancers are fleet, with long, beautiful, clean lines.
So even if we’ve seen this “Play” before, the players make it well worth watching.
Review by Mary Cargill for danceviewtimes.
So, thought their New York debut was called "Play", it was obviously the result of a great deal of work. "Play", a two act, plotless work by Ib Andersen, used five composers and most of the company. The sections were distinct, so this gave the feeling of a collection of shorter works. Andersen has obviously been influenced by other choreographers, notably Balanchine. His choreography tends to be structured, and full of steps, though he does not have an overly fussy approach, and uses stillness well. And he avoids the current style of overdoing the partnering. Pretzels, fortunately, seem to be out of favor in Arizona.
Posted 24 February 2012 - 12:36 PM
But she apparently was not really “someone else.” One day, when her children were pretty much grown, she was skating with them at a newly opened ice skating rink in New York’s Central Park and was amazed to find herself caught up once again in the experience of feeling her whole body responding to the “language” of the music. There was no mistaking it. The ballet shoes came out of the basement and off Anne went to serious training classes to catch up on what had been happening in the ballet scene in the artistically burgeoning years she had missed.
Thus began an exciting and gratifying second career for Anne. She studied classical ballet with Anderson, Danilova, Vilzac, modern dance with Martha Graham, Tamiris, Humphrey, Weidman. She choreographed for the New York Shakespeare Festival, the New York Ballet Club, the Trianon Ballet Company of Philadelphia.
Posted 24 February 2012 - 12:40 PM
Li's early life is well known from the international success of his book Mao's Last Dancer, adapted by director Bruce Beresford in 2009. The story ended as he was about to join the Australian Ballet, from which he retired as a principal artist in 1999. Li went on to be a senior manager at Melbourne stockbroker Bell Potter, an AB board member, and a corporate guest speaker. Forty-one candidates vied for the QB job, 20 of whom were Australian and the others from Europe, the US, Africa and New Zealand. QB chair Joan Sheldon cited Li's "extraordinary career, international reputation, networks and commercial experience" as reasons for their choice.
The change from the QB's choreographer-led model -- it has known no other in its 52 years -- to a curator model is long overdue. Dancers and audiences need the stimulation and challenge of new work, and there are plenty of fascinating dancemakers working in the classical tradition. Klaus's choreography has dominated since he took over in 1998, and he is not of the first rank.
He is coming on board with high ambitions for the state company. "I think even though Queensland Ballet is small at the moment, hopefully it won't remain small," he said.
"I want to expand the company - both on the business side and the artistic side....."
Posted 24 February 2012 - 12:41 PM
Tonight the Australian Ballet is celebrating not only its survival but also its rude health, with Infinity, a ''triple bill'' of dance works by Australian choreographers Graeme Murphy, Stephen Page and Gideon Obarzanek.
The works by these contemporary artists at the top of their game prove that the Australian Ballet is not only a company of rigorous and classically trained dancers but also an arts company that embraces the new and the challenging.
Posted 24 February 2012 - 12:45 PM
Birmingham Royal Ballet will perform Spring Passions at the Hippodrome from Wednesday to March 3. The show will comprise two uplifting stories of the survival of young love when tested to breaking point.
Posted 24 February 2012 - 12:46 PM
As a result The BalletBoyz company have just recruited nine young dancers to take male dance into the 21st century.
Their new showcase called, modestly enough, The Talent, which they will be performing at Snape Maltings this weekend, is a compendium of three works which are designed to show off the skill, grace and athleticism of the re-born BalletBoyz.
Posted 24 February 2012 - 12:48 PM
Without exactly feeling short-changed – the five ‘pas des deux’ showed elegance and athleticism in abundance, and an ebullient nautical number from the boys of Elmhurst School for Dance was delightful – the six orchestral items seemed longer and more substantial.
Under its new music director Koen Kessels, a conductor of almost jack-in-the-box energy and an equally lively ear for detail, the Royal Ballet Sinfonia revelled in its lion’s share.
Posted 24 February 2012 - 12:50 PM
Instead of static images of dancers seemingly frozen in time, the 64-year-old creates layers of movements mid-dance in a single frame, blurring his images so they appear more like a live performance.
Not all dancers in the exhibit photos are professionals -– the Miami show has barely dressed women in nightclubs alongside Hawaiian hula dancers, plus a handful of images from Baryshnikov’s previous collections “Dominican Moves,” shot in Dominican Republic cafes, and “Merce My Way,” his collaboration with the late American choreographer Merce Cunningham.
Posted 24 February 2012 - 08:58 PM
When choreographer Michael Pink's "Peter Pan" debuted two years ago, it was the kind of hit the ballet world wishes it saw more often. Packed audiences, critical raves, standing ovations.
"We sold every seat in the house before we even opened," said Pink, who hails these days from Milwaukee and is bringing his fantasy creation to Denver starting this weekend.
Posted 25 February 2012 - 05:39 PM
Dancer Lucas Priolo said now's the time to take people who are interested in ballet to a show. "It's a guy's ballet," he said. 'If you ever to bring a guy to the ballet for the first time, this is absolutely your ballet."
Posted 25 February 2012 - 10:01 PM
“Push” came off especially well, with Jonathan Jordan in the Baryshnikov role. He noodled around with such relish, swiveling his hips in those snug velvet britches — part Lothario, part bored jester — as if he were making up the steps on the spot. The not-so-subtle, deliciously deadpan rivalry between Maki Onuki and Sona Kharatian bore the perfect edge.
But the humor aside, what’s thrilling is the way Tharp whips together her own invented moves with brisk ballet technique, varying the accents, giving the ballerinas a powerful musical emphasis here, unexpected delicacy there, mixing up the rhythms in the ensemble — in effect, scoring the choreography like a jazz composition. (The music is Joseph Lamb’s “Bohemia Rag 1919” and Haydn’s Symphony in C, Op. 82.) That’s part of the joke, too — and part of the brilliance.
Posted 11 March 2012 - 10:48 AM
Mr. Karoui said that until now he had been able to manage his commitment to City Ballet “with the rest of my artistic life, but this is no longer possible.” The company said the assistant music director, Andrews Sill, would take over the position while a replacement is sought. Mr. Karoui, who became music director in December 2006, has been credited with bolstering the City Ballet orchestra’s quality.
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