"The way John tells the story, it's much more from Blanche's point of view, and you understand her pain of losing her family and her estate and her husband and her complete decay of this high-society type of life that she had disappear," Mr. Orr said.
Audiences are thrust into the scenes, thanks in part to sets constructed to allow dancers to perform atop the orchestra pit.
Thursday, March 8
Posted 08 March 2012 - 10:42 AM
Posted 08 March 2012 - 10:48 AM
The Huffington Post
Romeo and Juliet opened at San Francisco Ballet on Tuesday night under the light of a silvery full moon. Set to music by Sergei Prokofiev, Artistic Director Helgi Tomasson lifts Shakespeare's complex and familiar language off the gilded pages and translates it into lucid classical choreography that is visceral, fresh, and ultimately sublime. In the title roles, Joan Boada as "Romeo" and Maria Kotchetkova as "Juliet" formed the ideal portrait of the legendary star-crossed lovers. They are perfectly coupled in physical imagery, artistic expression, and in the pulsating charms of flaming youth. Together, Boada and Kotchetkova embody the innocence and determination of teenagers in love, and not that of impetuous adults who ought to be free of the parental units by now.
The San Francisco Chronicle
As Tybalt, soloist Daniel Deivison-Oliveira was wonderfully down and dirty. His fighting style has a whiff of brutishness barely covered by courtly niceties. With a swagger in his stride and a knavish smirk to his illicit flirtations with Pauli Magierek's Lady Capulet, you half expect him to sling a gun rather than a sword. That natural bravado makes a nice foil to the rapier wit of Gennadi Nedvigin's Mercutio. With rakishly tousled hair, Nedvigin embraced the serious business of buffoonery with flair, giving even throwaway jumps designed merely to get him from point A to point B flamboyancy. His perfectly timed barbs synced effectively with the accents offered by the Prokofiev score, given dramatic rendering by the orchestra under Martin West.
The Bay Area Reporter
Best of all, we have here a Juliet of world-class stature in Sarah van Patten, who performs Friday night (with Pierre Francois Vilanoba as Romeo) and has been able to move audiences as Juliet since she was herself 15 years old, dancing in Copenhagen, where Tomasson spotted her and gave her a contract on the spot. She builds the performance from scene to scene so that nothing surpasses the moment in the tomb when she comes back to life. That first breath she takes as she lies there on her own sepulcher is one of the greatest moments I've ever experienced in the theater.
Posted 08 March 2012 - 10:51 AM
This weekend, the Joffrey will appear in a program emphasizing its edgier side and presented by Dance St. Louis. Of particular interest is the much-lauded "Age of Innocence," set on the company by rising young choreographer Edwaard Liang.
But the program also will include works by modern-dance masters Christopher Wheeldon ("After the Rain") and William Forsythe ("In the Middle, Somewhat Elevated").
Posted 08 March 2012 - 10:58 AM
The Vancouver Sun
Kylian initially noticed Inger's talent in the company's annual choreography workshops. Along with a number of young choreographers, Inger was given the opportunity to create something for an evening of orchestra music. Inger chose Bolero.
"I was watching a couple of versions of Bolero: ballets," Inger said. "They were always very erotic and sensuous. They had fallen, in my eyes, to a cliché. I wanted to break it up and still keep that eroticism and keep it as more of a battle between the sexes."
Posted 08 March 2012 - 11:00 AM
“I feel quite lucky because there isn’t a lot of dance like this in the city or in Western Canada. So I’m very excited and happy—and challenged,” says Burton, adding that Ballet B.C.’s contemporary repertoire speaks to him, perhaps more than classical: “It’s ballet of today—it’s new and touches real feelings. And that includes men doing things that men do, not portraying the prince doing tricks.”
Burton’s ability to shape-shift and adapt to contemporary choreographers, a skill he honed at Arts Umbrella, will serve him well for the latest Ballet B.C. program. Over the course of the evening, he’ll have to switch between three incredibly different works. “They complement each other, but it is hard to jump between them in a 20-minute intermission,” he allows.
Posted 08 March 2012 - 11:03 AM
Yet a brooding air and downbeat pathos hangs over even the joyous elements of this production. There doesn’t seem to be much humour or conflict in the choreography, leaving the drama flat.
Perhaps it’s caused by a deviation in narrative – gone is the crossbow gifted to the prince to go hunting, replaced with a necklace and instruction to find love.
Posted 08 March 2012 - 11:04 AM
But when talking about dance, King takes a macro view, zooming out and always considering its greater purpose in the human experience.
"Dance, in its beginning, has always been a way to communicate ideas," he said. "How many portraits have we seen that capture the look of a person but not the person's essence? We're trying to look for - not the appearance - but the real essence of what things are. That's what the artist, the dancer, the choreographer, the writer is obsessed with. How do I get at what this thing really is, not how it appears?"
Posted 08 March 2012 - 11:06 AM
The show will also include soloists from the Madrid Chamber Ballet. The program includes contemporary and classic pieces like Don Quixote and Majísimo.
Founded in 1999, the Dance Department, currently the Alicia Alonso Institute at King Juan Carlos University, was the first in that country to initiate ballet training at college level. Since its establishment, it has trained several generations of Spanish artists.
Posted 09 March 2012 - 10:41 AM
New York City Ballet announces the plans for its Spring Gala.
There's almost definitely never going to be a sequel to Black Swan, but the New York City Ballet's plans for its 2012 Spring Gala come pretty close. The event, a tribute to France, includes a ballet by Benjamin Millepied, Black Swan choreographer and husband to Natalie Portman. Kate and Laura Mulleavy of Rodarte, who worked on the costumes in Black Swan, will dress the dancers. And Natalie herself will serve as honorary chairman for the gala.
The new work by Benjamin Millepied will be set to a commissioned score by the contemporary classical composer Nico Muhly. A graduate of Columbia University and the Juilliard School of Music, Muhly is currently one of the music world’s most sought-after young composers, and has written numerous orchestral and choral works, as well as scores for dance, opera, and film.
Posted 09 March 2012 - 10:42 AM
With both a world premiere of a full-length ballet based on a classic opera and a dance set to signature songs of a Rat Pack member, Milwaukee Ballet artistic director Michael Pink has crafted a 2012-'13 season he believes will show off both his company's core strengths and its range.
Pink announced next season's lineup during a live chat Thursday at JSOnline.com. Here's a summary of next season's programs, in chronological order. Except for the "Genesis" program, all take place in the Marcus Center's Uihlein Hall, 929 N. Water St.
0 user(s) are reading this topic
0 members, 0 guests, 0 anonymous users
Help support Ballet Alert! and Ballet Talk for Dancers year round by using this search box for your amazon.com purchases: