The National Ballet's 2012-13 season includes an ambitious tour schedule. Alice will also tour to Washington, D.C. in January 2013.
The company will return to Sadler's Wells in London — for the first time since 1987 — with performances of Romeo and Juliet from April 17-21, 2013.
Tuesday, April 17
Posted 17 April 2012 - 01:05 PM
Posted 17 April 2012 - 01:06 PM
"Lensky has purer feelings," he said. "He is sincere and genuinely mad. It's basically a black and white situation, with Olga in-between them as "red" -- the kind of woman that goes with one man and then with another. Audiences always have better feelings towards Lensky. I re-read the story before we started rehearsing. It is so dear to me. The hardest part for me was to find Lensky's fragility and innocence and to actually bring those emotions to the stage. You don't want to fake it or overplay it and then look ridiculous, because Lensky is a sincere soul. There are not many characters like this in ballet."
Posted 17 April 2012 - 01:07 PM
The album contained music by Russian minimalist Alexandre Rabinovitch-Barakovsky. "It was like nothing I'd heard before, and I fell in love with it right away, which happens so rarely, but, when it does, you have to go with it," he said. "There's a rich instrumentation, strings and electric guitar and marimba, for instance, but there's also this energy, this other worldly sound to it. He was born at the end of World War II and he's still alive, but he was very much an early minimalist, and I don't think he has gotten the attention he deserves. He was ahead of Philip Glass and John Adams, and he sounds nothing like them."
Posted 17 April 2012 - 01:08 PM
The company rises to the sublime in the program's finale, "The Four Temperaments." This ballet takes three initial themes (via duets) and then spins them outward into four different variations (not to be confused with Balanchine's other ballet, "Theme and Variations."). With dancers clad in basic ballet gear of leotards and tights, the Four Ts (yep, that's this ballet's nickname) packs a wallop of a punch with expansive steps, jutted pelvises, and sudden, stop-on-a-dime changes in direction. The music, too, isn't for the frilly, as Paul Hindemith's score spirals forward with bold choices for piano and strings.
Posted 17 April 2012 - 01:30 PM
In a statement later, Mr. Naidu rejected the charge. He said the company and union in 2007 had “entered into an agreement that formally severed ties.” He continued, “Nurturing artists and art-making are central to the Dance Theater of Harlem mission—we will never compromise either.”
Posted 18 April 2012 - 10:06 AM
Expectations have been high after Godden’s well-received Dracula, which he also choreographed for the RWB. But so far, reviews have been mixed.
Godden sighs when broached about the subject, saying he accepts that criticism – both good and bad – is part of the gig, though he tries not to pay attention. “When somebody really likes something that I’ve done I feel kind of embarrassed that they like it,” he laughs. “And when somebody hates it or really dislikes what I’ve done and are highly critical of it then I feel like I’ve let everybody down,” he says.
Posted 18 April 2012 - 10:21 AM
The version of Apollo PNB now performs loses much of the narrative of the infant Apollo growing into a creative artist inspired by three of the muses, Terpsichore, Calliope, and Polyhymnia. My personal preference is for the pre-1979 Apollo with its stronger storyline, but any version is worth seeing for its intricate steps and gorgeous tableaux.
On opening night, Batkhurel Bold, usually an emotionally restrained powerhouse, brought a surprising gentleness and fluidity to Apollo’s solo variations and pas de deux. His duet with Sarah Ricard Orza as Terpsichore was particularly touching as he wove her around him or lifted her outstretched body along his back.
Posted 19 April 2012 - 05:55 AM
Before the company was established by J.C. Williamson Theatres Ltd and the Australian Elizabethan Theatre Trust, the artform was in a state of flux. Audiences relied on the Borovansky Ballet – then under the artistic direction of Dame Peggy van Praagh – and touring international companies to satiate their hunger for dance.
The Borovansky Ballet disbanded in 1961, and van Praagh became The Australian Ballet’s founding artistic director the next year. She insisted the new company have its own school and offer dancers the security of contracts. It was time ballet was taken seriously. “We were thrilled to be dancing on full-time contracts,” says Boler, who had danced for Borovansky for four years before joining the new company.
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