Still, of course, those indomitable Wili maidens worked some of their magic, helped especially by the soloists Isabella Boylston and Yuriko Kajiya (Veronika Part’s Myrta was rather more leaden than severe). The sociopolitical conditions and prevailing artistic philosophies that anchored the narrative of “Giselle” within a broader cultural milieu have long since passed into history. But the fragile, maniacal human machinery of this ghostly corps thrills in large part because it resists anchoring.
Wednesday, May 16
Posted 16 May 2012 - 03:42 PM
Posted 16 May 2012 - 03:44 PM
It’s impressive how the triple bill being shown this week at the Joyce Theater by Cedar Lake Contemporary Ballet exhibits three quite distinct and thoroughly developed forms of dance theater. The pieces are well performed and well staged, with striking effects of lighting. Each gives you a clearly defined vision; nothing here is tentative or inefficient. The word “ballet” may mislead: there is no pointwork, and the sexes are given remarkably equal treatment.
Posted 16 May 2012 - 03:51 PM
The National Post
Too bad the same can’t be said for Ruslan Skvortsov as Prince Siegfried. Physically, Skvortsov looks every bit like the quintessential ballet prince. He possesses a deep plier, a high jump and elegant lines. But compared to the big and bold execution of so many of the other dancers, Skvortsov’s performance is a bit bland. One never quite feels his passion for Odette or his angst when he loses her.
This leaves Maria Alexandrova, as Odette/Odile, little to work with dramatically. No matter — she casts her own spell on the audience with her impossibly long arms that ripple gracefully through space, to the point that one begins to forget the lack of chemistry between the duo......
The Globe and Mail
The showy dancing in the first act, however, belongs to the Fool (Vyacheslav Lopatin). He is an astonishing dancer, a whirling top who moves faster than a speeding bullet. He is so supple that he seems to defy gravity. Lopatin belongs to that category known as the small fast guy. He’s too short to be a prince, but he earns his applause through his technical wizardry.
The Toronto Star
Thus Grigorovich’s Swan Lake is less about a swan and a lake than about a man struggling with his own psyche in a no-contest battle with that perennially popular bugaboo, Fate.
Add to this Grigorovich’s apparent aversion to clear dance narrative and you have a dramatically flawed Swan Lake that hovers precariously between the appearance of tradition and a modernist penchant for semi-abstraction that’s echoed in designer Simon Virsaladze’s sets.
Posted 16 May 2012 - 03:56 PM
Bermuda Civic Ballet is to stage a production of William Shakespeare’s romantic tragedy under the stars in honour of its 40th anniversary.
The ballet company has invited Svebor Seak, principal dancer of the Croatian National Theatre, to choreograph the production at Fort Hamilton from August 22 to 25.
Posted 16 May 2012 - 04:02 PM
A physical therapist works with each child, guiding the session. There's even a pianist.
Each child is paired with two teenage girls, students here at the ballet school who give up every Saturday to make this commitment.
Posted 16 May 2012 - 04:03 PM
Shaun, who grew up in Castlemilk, Glasgow, made the move to ballet when he won a place at the Dance School of Scotland in the city’s Knightswood after auditioning in his Celtic top aged 12.
He went on to attend ballet school in Birmingham, before moving to Croatia.
Posted 16 May 2012 - 04:09 PM
In collaboration with the Desert Botanical Garden, Ballet Arizona’s 30 dancers are currently performing Topia, a site-specific work created by Artistic Director Ib Andersen to music by Beethoven on an 80-foot stage in the Garden, surrounded by the beauty of the plants, trees, mountains and cacti. Performances begin just as the sun sinks behind the red rocks of Papago Park, creating a naturally stunning backdrop for this unique experience.
Posted 16 May 2012 - 04:16 PM
It is up to the dancers to depict these expressions of love and each of them manages to convey their emotional relationship with finely nuance dance, from the charming, elegance of Leanne Stojmenov as Olga and the refinement of Brett Simon as Prince Gremin, through to the stylish, embellishments of Adam Bull.
When Olga and Lensky dance there is a lightness to their dance with Kevin Jackson employing slow turns and graceful lifts, but when Onegin and Tatiana first dance there is a greater degree of detachment.
Posted 16 May 2012 - 10:10 PM
The theme was French at New York City Ballet's spring gala. With the atrium of the theater decorated as a flowery parterre for the after-the-performance fête, the program featured a pair of new ballets by Peter Martins and Benjamin Millepied before an evening-ending performance of "Symphony in C," originally made for the Paris Opera. Each of the new ballets was based on French music and both were half an hour long. Millepied's was a provocative neo-Romantic composition based on a new score from Nico Muhly commissioned for the occasion. But the challenge from the younger man evoked Martins' best work in some time and his ballet was the evening's better.
Posted 17 May 2012 - 02:45 PM
The show offers a portrait of ballet dancers as incredible athletes whose work puts incredible strain on their bodies. Bennett had to quit dancing for a year because of an injury; so did dancer Rex Tilton, who broke his back — a hairline fracture brought on by the physical stress of brutal rehearsals and performances.
And within the company, their friends and co-workers are also their rivals.
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