The ballet presented a lighter program than usual this year, a delightful, fresh, easy-to-like program of superbly danced works in contrasting styles that showed the company's strengths and high spirits and command of a wide range of styles. From the apprentices and trainees up through the ranks to the principals, everyone showed the superb technique that's a prerequisite to the art, but on top of that showed the musicality, feeling, and finesse, without which who'd care? The company is recently back from a tour, dancing in Germany and Russia, where the large Russian contingent in our company got a hero's welcome at the Bolshoi. If they were tired after all that traveling, it didn't show.
Thursday, August 2
Posted 02 August 2012 - 10:39 AM
Posted 02 August 2012 - 10:46 AM
The lighting also fails to impress. The front of the stage is dark while a rectangle of light in the middle serves to illuminate the dancers. Whenever they stray too far forward, they almost disappear into the darkness.
All of this would matter less if the dancing cut the mustard. Individually, many of the dancers are not short of talent, as was apparent during a number of pleasing solos in the marginally better second act. But all too often, the choreography and execution were weak, and occasionally wince-inducing.
Posted 02 August 2012 - 01:50 PM
Unique to this season, the company will be offering six in-studio events throughout the year including rehearsals, a dancer-choreography showcase and open discussions with artistic collaborators. Admission to the in-studio series will be free.
Posted 02 August 2012 - 07:56 PM
As she turns 40 soon, Fote, who has remarkably never had a major injury in her long and demanding career, is leaving her post-dancing options wide open. She loves cooking, fashion, decorating, and theater. She may explore teaching and coaching, and has not ruled out acting.
Posted 02 August 2012 - 08:11 PM
Royal Winnipeg Ballet: ......Between the other two works — Mark Godden’s “Moonlight Sonata Pas de Deux” and Mauricio Wainrot’s “Carmina Burana” — there should be no shortage of music that everyone will recognize. Let’s see what the elegant dancers can do with it.
Posted 02 August 2012 - 08:15 PM
This exhibition offers an intimate look at the design of one of Canada’s most celebrated treasures – the National Ballet of Canada. The exhibition is organized thematically – highlighting the various ways in which the ballet as an institution is designed through hundreds of items from the ballet’s archive. The exhibition provides a private invitation into the world of one particular company.
Posted 02 August 2012 - 08:28 PM
In recent years he has established a prolific career as a choreographer; his program biography says he “is the author of 30 choreographies, 10 videos, 3 motion-capture works, 3 interactive installations, 2 mobile applications and 1 film.” His dances have been performed in 14 countries, stretching from Canada to Thailand. In the three programs of his choreography I’ve seen, he has expressed a different artistic personality each time; the diversity is admirable, not always the result.
His current program at Jacob’s Pillow, “Curtain,” is the best demonstration of his choreographic gifts in my experience. Originally his co-dancer was to have been David Hallberg, star of the Bolshoi Ballet and American Ballet Theater. An injury to Mr. Hallberg, however, has made Mr. Bokaer his own protagonist.
Posted 02 August 2012 - 10:34 PM
But then, this play doesn’t have much of a plot, either: It’s based on a short story that runs a mere eight pages.
What the 80-minute show does have is a rich visual universe, courtesy of Moscow director Dmitry Krymov, who’s also a painter and graphic artist.
Indeed, the best way to enjoy this Lincoln Center Festival offering is to sit back, let it wash over you, and happily mumble to yourself, “My God, I’m watching living legend Baryshnikov move.”
Posted 06 August 2012 - 02:14 PM
Having overcome her fear of leaving behind everything she knew in Australia to chase her dreams, Bulle now faces the prospect of having her career in the US taken away from her. Her visa expired in September, with the Los Angeles Ballet battling to keep her for another three years on an O-1 Exceptional Artist visa application.
The company had been scouting Bulle as a promising talent since her beginnings at the New York school.
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