Ekaterina Egorova, in a smart dark-blue outfit, danced with the right restrained majesty as the fairy godmother. Notable groupings included the Fairies of the Seasons princesses in color-coded costume (green, red, earthtones and white) and ambassadors — Mauritanian, Spanish, Chinese and Russian — in ethnic garb and dance. The standout was Anton Baglikov in high mid-air splits that could bring to mind similar moves in the Boston Ballet’s “The Nutcracker.”
If anything was missing, it was live music — admittedly challenging for traveling companies. Still, there were moments when the transitions between scenes might have been more quickly paced with the presence of an orchestra.
Monday, April 23
Posted 23 April 2012 - 09:26 AM
Posted 23 April 2012 - 09:28 AM
Stephen Bimson, 29, who graduated from the Rambert School of Ballet and Contemporary Dance in 2009, is working with a granddaughter of a Cambodian princess to transform a one-bedroom flat into Cambodia's first ballet studio.
Posted 23 April 2012 - 10:27 AM
The Financial Times
Massively ill-advised is the recorded thunder that now rolls and bombinates like a full-blown monsoon as the first act ends. It is wholly wrong, like the imposed racket that attends Carabosse’s appearances in Sleeping Beauty: Tchaikovsky and Rossini (in Fille) knew their jobs better than the Opera House fidgets. The role of Alain is gaining an encrustation of merry tricks and physical quirks: Alexander Grant’s great original had humour, but also pathos and an innocence lacking from interpretations (as here) which chase the laughs. The cockerel, at curtain rise, seems to have lost those tire-bouchons (a favourite music-hall step for comedians from Groucho onwards) which embellished his solo. And the pretty unwindings of the ribbons on the Maypole at the end of the first act were missing.
Though past his physical and technical prime, Carlos Acosta (as Colas) is welcomed on stage with much-deserved enthusiasm from the audience. He may look heavier in his jumps and occasionally a little too laid back to be rapt with young love, yet his turns remain luscious and his relaxed rapport with Marianela Nunez’s Lise is cosily reassuring, if not thrilling.
The Evening Standard
At first Carlos Acosta and Marianela Nuñez — acting broadly, dancing approximately and sabotaged by a pink ribbon that tied itself into knots more easily than it allowed itself to be fashioned into a cat’s cradle — found it hard to bring those two aspects together. Gradually, La Fille mal gardée worked its magic on them as well as the audience. The humour and the warmth that fuelled it flowed effortlessly.
Posted 23 April 2012 - 10:29 AM
Ballet schools all over Tacoma hold shows in spring. For most of them it’s a chance to show off what students have learned during the year, and that’s true of TCB also; its corps de ballet is comprised of school-age dancers still learning the trade. But the difference comes with the principals: all seasoned, all skillful, and worthy of the creative choreography thrown at them. The choreographers, meanwhile – TCB’s director Erin Ceragioli, assistant director Joel Myers and long-time dancer Travis Goldman – mostly came up trumps with seven ballets that pushed the company beyond its usual kid-themed story ballets.
Posted 23 April 2012 - 10:31 AM
Guests will hop on a trolley and head over to the Palmer House Hilton ballroom for cocktails and dinner, followed by the "Grand Finale" in the hotel’s Empire room, where guests will be tasting more fine cuisine and getting their groove on next to Joffrey dancers.
Posted 24 April 2012 - 06:08 AM
Barcelona Ballet was weakest in fielding couples suited to making the work's central, almost melancholy duet resonate. Ms. Corella proved more stilted than shimmering in the part; her impressive partner, Dayron Vera, worked effectively as cavalier, but his efforts couldn't claim the focus his statuesque ballerina lacked. In an alternate cast, María José Sales performed skillfully without bringing much nuance to her dancing, which was sometimes compromised by the hardworking but noticeably insecure efforts of her often panicked-looking partner, Jonatan Diaz.
Posted 24 April 2012 - 06:09 AM
Meanwhile, downstage, Sarah Lamb, Steven McRae, Ed Watson et al were powering through McGregor’s familiar hyperextensions. Thursday’s crowd, heavily infested with chums from the music and fashion worlds, howled (and later tweeted) with delight.
Unused to the flexible physiques that regular ballet-goers take for granted, Covent Garden’s “new audience” is a pushover for these contortions, untroubled by the fact McGregor’s ballet writing reduces expressive artists to components in a soulless mechanism.
Posted 24 April 2012 - 06:13 AM
.....This is the second time NYCB has brought us a Broadway program and, since we only see the company now for a few performances a year, this was a bit disappointing. There is a long-time City Ballet audience here, one could tell from intermission comments, and a balance of new works and company classics would be nice in the future.
However, I’m sure I wasn’t the only one extremely grateful to both the company and the Kennedy Center for bringing us “Russian Seasons” and “Les Carillons.” Watching those two pieces, so confident, so rich, every movement giving truth to Bronislava Nijinska's comment that classical ballet is an infinitely renewable language, I kept thinking that Ratmansky and Wheeldon have given ballet at least another 25 years of life.
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