The high point of Suite en Blanc is a duet in which I saw Aurélie Dupont, a ravishing dancer nearing the company’s compulsory retirement age of 42, sveltely partnered one evening by Benjamin Pech and the next by Mathieu Ganio. Dupont is undeniably a beauty—in both face and figure, a superb dancer with the lush quality of a Suzanne Farrell or a Sara Mearns, and a role model of calm, confident serenity. She exemplifies the rank of étoile (star)—which the company awards to those artists who have a luminous quality that draws viewers’ attention like a magnet and makes them rejoice in what they see. There’s a marvelous moment in the duet where the man walks forward holding her body above the floor and she “walks” too—on air. And another in which she lifts her arms over her head and intertwines her fingers as if to indicate at once the crown of a regent and the halo of an angel. If I had known about her earlier, I would have traveled to Paris more often.
Sunday, July 15
Posted 15 July 2012 - 03:38 PM
Posted 15 July 2012 - 04:02 PM
The Paris Opera Ballet is among the few world-class companies whose dancers still predominantly share the same nationality and schooling. Whereas American Ballet Theater and the Royal Ballet are mainly led by foreign stars, the Paris Opera still manages to be essentially French. So what’s French in ballet? With “Giselle,” the second offering of its two-week New York season, the company shows us a particularly Parisian way with a ballet that is internationally familiar onstage.
Posted 15 July 2012 - 04:05 PM
On a recent Wednesday morning, Tiler Peck, one of the most brilliant young stars in the world of ballet, strolled through the 3rd St. Promenade in Santa Monica completely unnoticed. The New York City Ballet principal dancer and California native was on hiatus from the company and quite happy to be back on home turf.
Posted 15 July 2012 - 04:07 PM
The break climaxes years of tension between Villella and the board at a time when the company has reached unparalleled success: a critically acclaimed debut in New York in 2009, the Paris performances, a national TV debut on PBS last fall, and premieres of two successful ballets from major international choreographers last season.
The conflict has also exposed the often rough-and-tumble world of arts patronage — ego clashes and strong-arm tactics — that led to Villella’s ouster. And it has prompted bitter, behind-the scenes arguments over the future of South Florida’s most renowned performing arts group.
Posted 15 July 2012 - 04:09 PM
Saturday’s gala performance was of the caliber that reminds people what the world’s premiere classical dance company is all about and why it’s a cultural treasure the Capital Region should fight to keep for years to come.
Posted 15 July 2012 - 04:16 PM
The second half of Monica Mason's tenure as director of the Royal Ballet has been invigorated by a rare concentration of ballet making, with no less than seven choreographers creating work in-house. Now as she leaves the post, her gift to these choreographers – Monica's boys – has been the chance to participate in one of the most extravagantly interesting collaborative projects ever seen at Covent Garden.
A related review from Clement Crisp:
As a farewell gesture to mark the end of her decade as director of the Royal Ballet, Monica Mason decided on an enterprise that would involve the choreographic roster of her company. So, seven choreographers were to make dances to new scores, with new design, all inspired by three of Titian’s grandest works – the Ovidian Metamorphoses commissioned by Phillip II of Spain and now on view at the National Gallery. These are among the most erotically charged paintings in western art: Diana, the chaste huntress, surprised by Actaeon while bathing; Diana’s revenge by turning Actaeon into a stag to be killed by his own hounds; Diana reproaching the pregnant nymph Callisto. Rich food for dance; ripe recipe for faux pas, in every sense of the words.
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