This year’s program, at the Peter Jay Sharp Theater, had only one Balanchine work, though that piece — “Cortège Hongrois,” with its robust mix of Hungarian and classical dancing — is a little like two ballets in one. It was created for a firecracker of a dancer, Melissa Hayden, when she retired from City Ballet in 1973. The evening began more soberly, with a presentation of the 2012 Mae L. Wien Awards for outstanding promise to the students Olivia Boisson, Harrison Coll, Silas Farley and Claire Von Enck. Sean Lavery, who recently retired as the assistant to Peter Martins, City Ballet’s master in chief, was honored for distinguished service.
Thursday, June 7
Posted 07 June 2012 - 08:50 PM
Posted 07 June 2012 - 08:52 PM
Richmond Ballet’s small number of dancers won’t be nearly the headache to transport as, say, the 73 members and 10 works that Pina Bausch’s Tanztheater Wuppertal recently brought to London from Germany. But still, Winslett planned carefully for this tour. She had wanted to bring a piece she had commissioned from Jessica Lang, “To Familiar Spaces in Dream,” but the large set would have cost $30,000 to ship overseas and back. “So I said, you know what, we’ll see that piece in Richmond.”
Posted 07 June 2012 - 08:53 PM
Saturday's Dance United showcase marks a bittersweet end to Oregon Ballet Theatre's season. The gala fundraiser will feature duets and solos from visiting artists representing the international dance community, including New York City Ballet star Wendy Whelan. But it also marks the retirement of OBT principal Artur Sultanov, one of the company's best performers.
Sultanov, who is from Russia and danced with the Kirov Ballet when he was a teenager, leaves OBT after nine years, during which time he's witnessed big changes in the company.
Posted 07 June 2012 - 08:55 PM
Before Cinderella leaves in a carriage pulled by a dancing white horse, clock gnomes descend from the fireplace to remind her to be home by midnight.The one-act adaptation the original Prokofiev ballet was choreographed by Everybody Can Dance artistic director Diane Zink.
In the second performance on the program, guest artist Sayat Asatryan, formerly of the Moscow Kremlin Ballet, will dance the male lead in “Chopiniana.”
Posted 07 June 2012 - 08:59 PM
The show's crew was in Boise March and filmed a Saturday morning class at Ballet Idaho and in places around Downtown Boise, following one of the Ballet West dancers, Katie Martin, who was auditioning for Ballet Idaho.
The producers won't say what's going to be part of the episode but Ballet Idaho marketing director Kim Kaine says she was told it would be worth her time to watch. You might find out if Katie will be dancing in Boise this fall.
Posted 07 June 2012 - 09:01 PM
McAllister welcomed a $2 million federal government grant to fit out the company's new storage facility.
The facility will bring the ballet's wardrobe, sets and other items together in one place, in a purpose-built facility McAllister said would be like the 'biggest dress-up box in the whole world'.
But while the fit-out has been paid for, the company has yet to receive any of the $10 million needed to build the facility.
Posted 07 June 2012 - 09:08 PM
As sweet Princess Rose, Marianela Nuñez moves with fluid grace; her delicate steps onto pointe contrast with vivacious leaps. Prince Nehemiah Kish performs bravura jumps with ease and the couple's gorgeous Act 3 pas de deux is the evening's highlight. Also pleasing is a commanding and forceful Tamara Rojo as evil older sister Épine.
But there are many aspects to this ballet that leave a lot to be desired. Cursed courtiers are transformed into scratching and swaying baboons that detract from the main action onstage and make court scenes chaotic. The ballet's pace also feels slow, with more inane and hollow movement than enticing choreography.
In a nod to Sleeping Beauty, Princess Rose is presented with four suitors - each with their own piquant and idiosyncratic physicality. Their phantasmagoric appearance in Act II culminates in a rousing pas de quatre - performed with miraculous precision by Bennet Gartside, Valeri Hristov, Steven McRae and Ricardo Cervera - with a devilishly tricksy menage.
Posted 11 June 2012 - 06:01 PM
Balanchine chose to keep his Cortège choreography abstract, avoiding any reference to narrative and character. Still, both the women I saw in the leading role gave her interpretation a subtext, which presumably taught the many little girls in the audience how a princess-type—especially one with “issues”—should behave. Claire von Enck and Austin Bachman, who led the evening’s cast, topped the matinee pair (Mikayla Lambert and the wonderful Silas Farley) but when I’d only seen the matinee cast, I didn’t think anything was missing.
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