In contrast to some very stodgy years in the Royal's recent past, the emphasis here is on new work and, aside from the Ratmansky commission, it's on developing local talent. The positioning of both Wayne McGregor and Christopher Wheeldon on O'Hare's "creative team" is reflected in their strong presence in the repertory: new works from both of them (including a modern "fairytale" from McGregor, titled Raven Girl), a company premiere for Wheeldon's 2007 ballet Fool's Gold, and a revival of McGregor's Infra.
Thursday, March 15
Posted 15 March 2012 - 11:13 AM
Posted 15 March 2012 - 11:14 AM
Raven Girl was yesterday described by Kevin O'Hare, the Royal Ballet's incoming artistic director, as a "modern twist on a fairytale" although there were no further details given about the work, which will premiere next year.
Posted 15 March 2012 - 11:16 AM
In this double bill of ballets by Frederick Ashton, the company dive into dances for shepherds, pirates and gypsies, with a nice sense of the different imagined worlds. The corps dances in Daphnis have real glow, while the gypsies of The Two Pigeons have bouncy operetta gusto.
Posted 15 March 2012 - 11:18 AM
The costumes have yet to be made and the choreography worked out to ensure that "the vision of the queen is executed as magically as we had want it," said choreographer Peter Bo Bendixen, who has collaborated with the monarch on several projects.
Margrethe acceded to the throne on January 14, 1972, becoming the first woman to take the helm of Europe's oldest monarchy
The queen was asked by Tivoli's ballet chief, Peter Bo Bendixen, to join the team, and her designs are now ready to be handed over to the workers - the sets to be built and painted in Copenhagen and the costumes sewn in London.
"These are enlarged copies of my drawings for some of the costumes, and here you have a small maquette of a part of the stage as it will be in the first scene," she said, as she presented her work at a restaurant in Tivoli.
Posted 15 March 2012 - 11:29 AM
As directed, she asked a woman to use her cell and was told she didn’t have one (even though Eleisha saw her using one).
So, she went over to the pub. The two waitresses there refused to let her in to use the phone and didn’t offer to bring out a cellphone. When Mike arrived, he found his daughter crying and scared, sitting in the dark in what is not seen as a “good neighbourhood.”
Posted 15 March 2012 - 11:31 AM
Okin, 59, didn’t set out to found her own dance company. As a young woman, she had her sights — and toes — set on becoming a professional dancer. After graduating from Cleveland Heights High School in 1970, she enrolled at Texas Christian University, primarily because the school’s dance program allowed students to perform with the Fort Worth Ballet.
But a persistent foot injury — and her high school sweetheart, Gary Okin — lured her back to Cleveland, where she came to realize she enjoyed the process of putting on a performance more than performing itself. “I was a good dancer,” she said. “I’m a better teacher and choreographer.”
Posted 16 March 2012 - 10:06 AM
George Balanchine, the greatest choreographer of the 20th century, believed that all ballets, even his, were like butterflies: "A breath, a memory, then gone." Twenty-nine years after his death, Mr. Balanchine's ballets continue to be performed throughout the world, but it's also true that the way in which they are danced today is not the way in which they were danced when Mr. Balanchine himself was around to rehearse them. The steps may be the same, but the nuances are different—sometimes joltingly so—and to compare a modern-day performance of, say, "The Four Temperaments" or "Stravinsky Violin Concerto" to an old video of a Balanchine-supervised performance by the New York City Ballet, the company that he founded in 1948, is to receive a lesson in the fundamental impermanence of dance.
Posted 16 March 2012 - 10:07 AM
Cincinnati Ballet resident choreographer Adam Hougland has demonstrated a penchant for staging mammoth ballets. In recent years, he has created “Mozart’s Requiem” and “Firebird.”
This weekend the ballet performs Hougland’s “Rite of Spring” almost a century after the original ballet, “Le sacre du printemps,” made a sensational debut in 1913, choreographed by Vaslav Nijinsky set to Igor Stravinsky’s percussive, primitive score.
Posted 16 March 2012 - 10:09 AM
The event, dubbed "Art and Dance: A Pas de Deux," has another layer beyond a collaboration between visual art and dance. It also spurred a collaboration between two dance organizations: The Orlando Ballet and Yow Dance. The artistic directors of the two companies — Robert Hill of the ballet, and Eric Yow — have teamed to create a unique program that will complement Sorensen's textured works.
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