For ballet the signal is of a long-overdue refreshment of attitude, and a phasing out of the "curator" approach of Monica Mason and considerably more vibrant creativity from O'Hare, in his tripartite association with new "artistic associates" Wayne McGregor and Christopher Wheeldon. February's mixed bill with the new Wheeldon and the new Ratmansky looks like the hottest ticket, but Wayne McGregor's hour-long narrative Raven Girl, in a double bill with Balanchine's Symphony in C next May, sounds most intriguing, based on a graphic novel by Audrey Niffenegger, filled with rich folktale grand guignol. It will be "twisted narrative", commented O'Hare, adding that narrative is now back in young choreographers' minds since the success of Wheeldon's Alice's Adventures in Wonderland (getting its third run next year).
Wednesday, March 14
Posted 14 March 2012 - 10:32 AM
Posted 14 March 2012 - 10:34 AM
Emerging Pictures co-founder Barry Rebo, whose company presents the ballets, said his audiences have been steadily growing "week by week, show by show" this year, with an overall 35% rise in ticket sales for combined ballet and opera offerings across the U.S. and Canada.
Numbers spiked noticeably when David Hallberg performed live with the Bolshoi Ballet in November, a performance in which the American actually danced after twisting his ankle early in the first act, said Emerging Pictures publicist Raymond Forsythe.
Posted 14 March 2012 - 10:37 AM
Lauren Jonas, who heads one of the longest continuously running ballet groups in the Northern California, will speak at the Peninsula Jewish Community Center at 7 p.m. in advance of her Diablo Ballet’s March 30-31 appearance at Hillbarn Theatre.
Jonas, artistic director of the 18-year-old troop, will discuss the importance of professional dance. "I hope personally that people who attend Thursday night will get a glimpse of me as a person, the person behind the company itself," Jonas told Patch.
Posted 14 March 2012 - 10:38 AM
The acoustics have been built to enhance the highest quality sound. As a result, the orchestra can perform at its maximum potential, and it can be heard with maximum appreciation. Not just the sound will change. The center is built to create the finest production possible, which means lighting, music configurations and projections will now be incorporated, Crawford says.
When word of The Smith Center got around, the Philharmonic's booking department was inundated with calls. Musicians from such shows as "The Lion King" (now closed) and "Phantom -- The Las Vegas Spectacular" (scheduled to close) expressed interest, as did booking agents for national solo musicians.
Posted 14 March 2012 - 10:40 AM
One of the highlights of the sale is Etude de costume pour ‘le Magicien Chinois’ dans le ballet PARADE by Pablo Picasso (1881-1973) which is estimated to sell for £18,000-22,000. In January 1917 Sergei Diaghilev, the founder of the Ballets Russes, approached Picasso to design the costumes and set for his one-act ballet Parade, which was the first time Picasso has designed for the stage. Composed by Erik Satie, choreographed by Léonide Massine and with a libretto by Jean Cocteau, Parade premiered in Paris in May 1917. Picasso worked on his designs in February of that year whilst living in Rome with his fellow contributors, and it is here that he met his future wife Olga Khokhlova, who was a dancer in Diaghilev’s troupe.
Posted 14 March 2012 - 10:47 AM
ABT dancers Marcelo Gomes, Misty Copeland and Craig Salstein emceed a spirited live auction, in which not one but two onstage appearances (one as a Capulet corpse, one as a fleeting pirate in Le Corsaire) were sold to balletomanes eager for their moment, however, brief in the spotlight.
The dynamic trio followed the auction with a brief comedic dance performance to “Boulevard of Broken Dreams” (the Tony Bennett version, fortunately). With that particular paring of agility and strength achieved solely through ballet, Mr. Gomes and Mr. Salstein competed for Ms. Copeland’s affections, all the while executing complicated lifts and spins, to the audience’s delight.
Posted 14 March 2012 - 10:49 AM
The Financial Times
The felicities of Ashton’s ballets, the unfailing assurance of his dances, the musical grace of his means, can surely never be more evident or more beguiling than in the double bill with which Birmingham Royal Ballet opened its week’s season at the Coliseum on Tuesday. And his scores – Ravel’s Daphnis and Chloé, Messager’s The Two Pigeons – which shape every moment of the stage action, colour it, give it life, could ask for no better advocate than Koen Kessels, who guided the Royal Ballet Sinfonia with unerring style through this music. Kessels seems to me to offer superlative advocacy for dance and for his every score. He was, indeed, the real hero of Daphnis.
The Evening Standard
With its folky communal dancing, bright colours and sun-etched landscapes by artist John Craxton, it is as if Rosemary’s Baby had been restaged for a family audience by the folks behind Mamma Mia! Although entertaining in many of its parts, there are sections where it even makes Ravel’s score sound kitsch by association.
The second Ashton contribution, The Two Pigeons, is an incomparably greater ballet to a lesser piece of music, by André Messager. From the moment the curtain goes up on designer Jacques Dupont’s garret, with its window that would be the envy of Versailles, we are promised a world of fantasy that is triumphantly delivered by Birmingham Royal Ballet.
Posted 14 March 2012 - 10:52 AM
Think Seven Brides for Seven Brothers with added pirates and less barn dancing and you’ve got a good visual of last nights opening work Daphnis and Chloe. A sickly sweet tale of love lost and found, Ashton’s 1951 recreation of a Ballet Russes classic tells the story of the cloying Chloe (Elisha Willis) and her somewhat spineless lover Daphnis (Iain Mackay), who look to the help of the gods to be reunited. All ends well and some pretty enough dancing ensues
It's hard to believe that Robert Parker is due to retire at the end of this season. The crinkled grin that has so effortlessly disarmed audiences through a career of romantic roles looks as boyish as ever.
But Parker's experience counts as much as his smile, as he opens this short London run of Two Pigeons. The two live birds that flutter through Ashton's 1961 ballet can spring any number of unscripted surprises on the dancers. Yet Parker handles the pigeons with exactly the same assurance with which he walks this ballet's tricky line between sentiment and sentimentality.
Posted 14 March 2012 - 10:54 AM
His first version of the show, unveiled in January, received an unexpected boost through guest star Sergei Polunin’s shock resignation from The Royal Ballet. Polunin made front page headlines, and Men in Motion was a chance to see what the fuss was about. As the news story fades, Polunin is back to make his choreographic debut – which does nothing to lift a desperately weak evening.
The programme, designed with intelligence by Polunin’s Ukrainian compatriot and long-time friend Ivan Putrov, opens with their version of Nijinsky’s L’Après midi d’un faune, in which – true to the original – Polunin performs in profile as a half-man, half-animal entranced by the appearance of a pretty nymph.
Posted 15 March 2012 - 11:21 AM
These pop-up gigs began a while ago in the Arts District, most notably one night in the Brett Wesley Gallery parking lot at a reception for a Nevada Ballet photo exhibit. The plan is to take the 4-by-8 performances (named for the restricted size of the dancefloor used for duets and solo numbers) into the community, offering an organic and surprising presentation of contemporary ballet to those least expecting it as they move about their day. Tonight, Crystals; tomorrow, the world. Problem is, you can’t plan for it. Canfield wants the 4-by-8 performances to be organic, unannounced—not a destination, but something happened upon.
Posted 15 March 2012 - 11:24 AM
Despite this, it quickly became evident that the dancers only looked the part and had no engaging part to play. Though the overall spectacle was aesthetically pleasing, a combination of lifeless choreography and listless execution stamped on whatever hopes one might have had for an enthralling experience. The introductions to main characters like Tybalt, Benvolio and Mercutio bore little indication of skillful dancing or emotional investment. Apart from a handful of compelling leaps, these were cursory, safe segments performed with minimal energy — a deplorable outcome for the principal dancers and soloists of a world-class ballet company.
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