Here’s a piece of advice for those attending the Barcelona Ballet on Friday at City Center. The second intermission is a great time to cut loose.
It would be unwise to slip away before then. This youthful Spanish company looks fresh and energetic dancing Clark Tippet’s “Bruch Violin Concerto No. 1,” in which ballerina Carmen Corella’s nuanced performance of the “Blue” pas de deux lights up the stage. The second offering, Christopher Wheeldon’s “For 4,” is wonderfully crafted, and so much more than a series of showstopping male solos.
Friday, April 20
Posted 20 April 2012 - 10:32 AM
Posted 20 April 2012 - 10:33 AM
Mobile Ballet will present “Carnival of the Dance” for a single public performance at 2:30 p.m. Sunday, April 29, at Mobile Civic Center Theater. After the show, the Carneys and cast members will demonstrate for the audience how the creatures work on stage. They also will answer audience questions about the production.
The matinee will open with Mobile Ballet dancers performing a 10-minute excerpt from George Balanchine’s “Serenade.” Corey says his company obtained permission from the Balanchine Trust to perform “Serenade,” which he says will be a serious challenge for his 17 dancers.
Posted 20 April 2012 - 10:35 AM
The Verb production, the opening event in CPT’s DanceWorks 2012, is performed in the tight space of the James Levin Theatre, though the works doesn’t look confined. The audience sits around the playing area, like spectators in a bull ring, and the dancers often come in close contact. You can see the sweat as the cast – occasionally speaking in Spanish – thrusts itself into the story, which grips with an aura both bright and ominous.
Set to Rodion Shchedrin’s string-percussion reworking of Bizet music from “Carmen” and other pieces, the ballet dashes preconceptions. Dickinson’s choreography is a deft blend of classical and modern ideas that convey the tale’s psychological aspects with keen dramatic power.
Posted 20 April 2012 - 10:37 AM
In the end, it was Myers, an accomplished modern dancer and choreographer who recently joined TCB, who came up with the idea to hold previews with each choreographer explaining how they came up with their work, and showing excerpts with TCB dancers and local musicians. It had been a long while since the company had done such a preview, but the first was so popular that they offered a second.
“If we want to get Tacoma audiences excited about what we’re doing, we’ve got to get them educated,” Goldman said. “I do think it helps (to build the audience).”
Posted 20 April 2012 - 10:52 AM
"Rocks or dust?" The question resonates through William Forsythe's Artifact, which pays magisterial homage to the history of ballet, even while speculating on its chances of survival. Created in 1984, this is one of Forsythe's most engaging masterpieces, its rigours layered with limpid beauty, playfulness and sadness. Revived here by Royal Ballet of Flanders, it also comes charged with one very specific loss: director Kathryn Bennetts, who has made the company into one of the prime caretakers of the Forsythe repertory, has recently been forced from her post. Artifact has only been seen once before in the UK; will we ever see it again?
The Arts Desk
The entire creative kudos for the show goes to Forsythe himself, as choreographer, director, writer, designer and lighting man, which demonstrates just what a good mind the man has. It's a piece that should claim classic status in the future, a landmark in its theatrical and balletic range. But apart from Forsythe's own now-dissolved Frankfurt Ballet, the Royal Ballet of Flanders have been one of only two other companies he's fully trusted with his work, directed by his former assistant Kathryn Bennetts. The passion and focused intent of last night's performance speaks highly of her abilities as she leaves this troupe this year, but it leaves also the question of just who will be there to keep a protean creation of modern ballet theatre like Artifact alive. Too challenging for the mainstream, but so much more alive than the mainstream.
Posted 20 April 2012 - 11:24 AM
Above all, when Forsythe assembles massed ranks of dancers and sets them off in waves of movement that take the basic ballet vocabulary, in particular the épaulement that shapes the arms and the carriage of the head and shoulders, and weaves it into something rich and strange, he is paying tribute to the sheer visceral thrill of ballet, the way that a lot of people moving in unison is simply beautiful.
The Evening Standard
Eva Dewaele’s mute, pale Other Person is the intermediary between these dispossessed concepts and the dance which, despite its energy and its extensive vocabulary of steps, remains as perfect, closed and uncompromising as a set of geometrical axioms. Her semaphoring looks like attempts to translate between two alien modes of existence.
Posted 21 April 2012 - 03:06 PM
Not only following in her mother's footsteps in the general sense, Samara has her sights set on one day joining the same company her mother once danced for, and incidentally met her husband Blaine Rittinger through, the Royal Winnipeg Ballet.
Samara, who currently studies at the Goh Ballet Academy, is on a positive track, having been accepted for two summer programs at the Royal Winnipeg Ballet's dance school, as well as a master class Sunday as part of the company's local performance of Svengali, April 20-22, at The Centre in Vancouver for the Performing Arts.
Posted 21 April 2012 - 03:10 PM
Balanchine's "Stravinsky Violin Concerto," a company premiere and the program's masterpiece, raised the curtain, but the evening's hit was Matjash Mrozewski's "The Lost Dance," a stylish world premiere with divine costumes by Portland designer Adam Arnold and a serviceable score by Owen Belton, with whom Mrozewski often collaborates.
Posted 21 April 2012 - 03:20 PM
Many students, like Brian, get their first taste of ballet in one of the "vocational orientation" workshops run for children by most municipalities."We seek talent in ballet, like in sport, and we train it," Brian's teacher, Martha Erin Nieto explains.
For Cuban youth, talent is the only requirement to enter the school: the training is free. "Every child has the right to be here," the teacher says, and the school's best graduates go on to join the prestigious National Ballet.
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