Many soloists distinguished themselves here, including Alice Renavand, keeping pace with four athletic cavaliers in the "Pas de Cinq"; lyrical Marie-Agnès Gillot; the reserved yet powerful Mathieu Ganio; crisp Aurélie Dupont, exquisitely balanced and attuned to her partner, Benjamin Pech; and—the company’s newest star—lovely Dorothée Gilbert, unfazed by disorienting spins and descending gracefully to one knee in "La Flûte."
Friday, July 13
Posted 13 July 2012 - 10:14 AM
Posted 13 July 2012 - 10:18 AM
Each year the annual ballet gala dazzles locals and visitors with the gorgeous dancing and an elegant atmosphere. This year, the Belle Époque era comes to life at Saratoga Performing Arts Center’s Annual Ballet Gala, “An Evening at the Moulin Rouge.”
The gala, which coincides with 'Bastille Day,' will recreate the atmosphere of a Parisian lounge circa 1900, with a champagne and La Fée Absinthe reception, a strolling accordion player, exquisite French cuisine and guests dressed in period attire.
Posted 13 July 2012 - 10:59 AM
....The original cast order of Fifield, Jackson, Beriosova, Nerina, Elvin, Grey and Fonteyn, did reflect a kind of civil service ranking from junior to senior. However, they were all seasoned Auroras and that probably made a big difference. The ballerina in the moss-green tutu dancing the Svetlana Beriosova variation No 3 (slightly taller with impossibly exotic name so quite apt) was technically fine but did skim the surface rather; for instance I didn't quite get to see that final phase which is described as: "gathering all the flowers thrown to you and then letting them drop through your hands" etc. On the other hand, I could imagine Beryl Grey (as No 6) being as brisk and no nonsense as Sarah Lamb...
Posted 13 July 2012 - 11:14 AM
Workloads for the dancers remain a major concern. “At a conference recently, one of my colleagues asked, ‘How much is too much?’, which I thought was a very interesting question.”
She thinks that the Royal Ballet’s current corpus of 92 dancers is the right size for the job in hand, but the injury rate is still high. “Surgeons can do fantastic things and save careers which 20 years ago would have been lost. But dancers today are required to dance at the highest level of performance in so many different styles that a certain amount of injury remains inevitable.”
Posted 14 July 2012 - 11:14 AM
My wife and I were considering getting tickets for this beautiful ballet. However, the image of those clueless protesters has ruined the imagery. We’ll sit this one out.
Posted 14 July 2012 - 11:16 AM
In the group finale, to Morton Gould, everyone takes a waltzing position for a mostly unison display, ending with the women supported in backbends, kicking the air. Witty and thoughtful, “The Waltz Project” shows Martins’ gift for choreographing in the American idiom.
In addition to excellent repeats of George Balanchine’s “Concerto Barocco” and “Kammermusik No. 2,” his dazzling “Symphony in C” also returned, with different leads in the first and last movements. Ana Sophia Scheller confidently danced the opening, beautiful in supported leaps and slow supported fouettés. Her partner, Chase Finlay, promenaded her handsomely but looked tentative in some launches and landings. Speedy Erica Pereira ably kicked off the delirious finale with Sean Suozzi.
Posted 14 July 2012 - 11:20 AM
East is definitely meeting West when it comes to Hong Kong Ballet, a 33-year-old company that arrives at the St. Sauveur Arts Festival this month, eight years after appearing in Canada for the first time. All three works on the program – Peter Quanz’s Luminous, Nils Christe’s Symphony in Three Movements and Kinsun Chan’s Black on Black – are in contemporary Western mode, whereas virtually all of the company’s dancers were trained in Chinese academies that enforce a strict classical ballet aesthetic.
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