American Ballet Theater tours and performs at New York City Center in the fall. A major part of its season takes place in June and early July at the Metropolitan Opera House across the Lincoln Center Plaza from the Koch Theater, where City Ballet performs at roughly the same time. It is unlikely they could be in residence simultaneously, so any spring move to the Koch would extend Ballet Theater’s season deep into the summer. City Ballet does not generally perform at the Koch in March and April.
Thursday, May 31
Posted 31 May 2012 - 11:04 AM
Posted 31 May 2012 - 11:06 AM
The company’s original cast has only gotten better. David Hallberg spent last year as the first American principal at Moscow’s Bolshoi Ballet. He might have spent it in the Catskills, since his timing’s as good as a Borscht Belt comic’s.
Posted 31 May 2012 - 11:07 AM
"Seattle is fascinating to me," said the film's director Bob Hercules in a phone interview last week. "Back in those days, it was a very, very vibrant dance community. A lot of the major companies would come to Seattle; a lot of dancers came there."
Originally hired several years ago to conduct a few interviews with the ailing Arpino, Hercules quickly saw that there was a bigger story to be told. "I was kind of amazed that nobody had made a film about the Joffrey Ballet — it seemed like such an obvious, tremendously rich story," said Hercules, whose previous documentaries include "Forgiving Doctor Mengele" and the PBS dance film "A Good Man." "In my business, you don't run across too many subjects that haven't been covered."
Posted 31 May 2012 - 11:11 AM
All the dancers have a good reason to feel nervous and threatened, because the first episode coincides with the day their one-year contracts are renewed (or not) and promotions announced. No one knows what to expect.
"The best recipe for creating a hardworking and well-functioning dancer and artist," says artistic director Adam Sklute, "is if all the dancers know that they are special — but also that they are expendable."
Posted 31 May 2012 - 11:22 AM
Gloria Castro Martinez, the director of the Colombian Institute of Classical Ballet who organized the event, said she hoped to draw more than 100,000 visitors to the week-long festival, the only one of its kind in Colombia.
To help draw more crowds, Martinez has added more free public events and reduced-price tickets.
Posted 01 June 2012 - 10:49 AM
Steven McRae, the Sydney-born, red-headed principal dancer at the UK’s Royal Opera House (ROH), skilfully interpreted the role of Colas in Frederick Ashton’s widely-praised choreography of 18th Century ballet La Fille Mal Gardee (The Wayward Daughter). Australian McRae or, as one Twitternaut wrote, “McRae-zing”, danced alongside the eponymous fille, Brazilian Roberta Marquez.
Posted 02 June 2012 - 03:25 PM
What we don’t get in “Breaking Pointe,” oddly, is much dancing, but one assumes that will come later in the season as the company gets settled into their roles.
What separates this cast from just about every other real-ity show is that these people are chasing something larger than themselves, more vital to them than fame or money — that brief moment of perfection onstage, achieved after years of study and practice.
Posted 03 June 2012 - 04:31 PM
Cojocaru is remarkable, one of the great ballerinas of the day. She imbues Nikiya with both spirituality and a kind of innocent wildness in ways that downplay effort and technical expertise. She reaches out a beautifully arched foot with a softness that’s almost feline, and before you see how it happened, she’s standing on pointe. She’s amazingly supple, and by that I don’t mean how far she can arch her body backward; her hip joints might belong to another species of human. When she lifts a leg high, it seems to float into position, without that little ending hitch that says, “I’m there.”
Posted 06 June 2012 - 10:12 PM
“This was our first full length ballet as the principal couple,” added Griffiths. “And I enjoy that Franz is a bit different from the usual prince. He’s a peasant, not aristocratic, and gets to play off his Swanhilda.”
The roles, which call for “short and cutesy” rather than tall and regal are a good fit for Griffiths and Foster, both smaller dancers.
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