Natalia Makarova’s version of “La Bayadère” for American Ballet Theatre is both more complete and more streamlined, restoring the apocalyptic ending that the Soviets had censored. Yet Nureyev, working with set designer Ezio Frigerio and costume designer Franca Squarciapino, knew how to dazzle.
In addition to eye-catching combinations of green, purple and gold, the ballet comes accessorized with glowing jalousies; an enormous stained-glass portal in the hero’s bedroom; and an elephant on wheels. Oh, and don’t forget the parrots, stuffed but probably still dizzy when the female corps takes them waltzing in Act II.
Tuesday, August 7
Posted 07 August 2012 - 11:08 AM
Posted 07 August 2012 - 11:11 AM
The program includes Christopher Wheeldon’s “Polyphonia,” Jorma Elo’s “Plan to B,” Helen Pickett’s “Tsukiyo,” and William Forsythe’s “The Second Detail.”
“I put together a very edgy, avant-garde, artistic dance. We have the most serious commitment to contemporary dance, but the mix of three different kinds of repertoire makes [our performances] inclusive instead of exclusive,” Nissinen says.
Posted 07 August 2012 - 11:12 AM
Peasley is proud of the changes in the Australian dance scene, where male artists were once looked at askance to children now as young as 10 devoting a life to the artform.
"In my day nobody started that young to do dance, no males, little girls did, they did their little tap in the local hall," Peasley told AAP on Tuesday.
Posted 07 August 2012 - 11:15 AM
But the potent reason for watching the performance was Zdenek Konvalina’s impersonation of the hapless Siegfried. I have commented with enthusiasm on his artistry in recent times. In his dancing, in his interpretations, you see the true nature of a premier danseur classique, that hero demanded, and too rarely found, by the old classical repertory and also in the later – even latest – incarnations of this figure in today’s ballet-making, from Balanchine’s Apollo to MacMillan’s Des Grieux – roles in which Konvalina has also shone.
Posted 08 August 2012 - 10:40 AM
Ms. Gregory's portrayal clearly shows Aurora's growth in both comfort and joy as she gains confidence dancing with her suitors. Ms. Gregory's pitch perfect technique is in perfect harmony with the story and the music. Her nuanced gestures grow larger as Aurora's confidence does. And, at the end, there is that arabesque extension -- slow, controlled and deliberate. An enraptured ending to a demure beginning.
It is interesting to compare Ms. Gregory's performance with that of the well-regarded Alina Cojocaru, a current principal with The Royal Ballet. Here, in a video of the Rose Adagio filmed relatively recently, one sees the very capable Cojocaru with her beautiful extensions and high retirés in her pirouettes, which is popular today (and something that I do love). Yet there is very little attention to showing the audience who she is and from where she came.
Posted 08 August 2012 - 10:48 AM
In 1962 he made the most important decision of his career and joined the Stuttgart Ballet, and in 1965 he was promoted to principal dancer. It was here that his 36-year partnership with Marcia Haydée started, though he also partnered Fonteyn and most other leading ballerinas of the day. Cragun was a handsome man on-stage and off , and when he created Petruchio for Cranko in 1969 in Taming of the Shrew the role fitted him like a glove.
Cragun had been ill for some time after having a stroke in 2005, and complications with the drug cocktail which allowed him to live with AIDS. He was working until a short time before his death, mounting the ballet Taming of the Shrew.
Posted 09 August 2012 - 12:01 PM
Although energy was high, there was little heft to Wainrot’s movement. Despite the rumbling, powerful choruses, there were only a few combinations that matched the strength of the score. The “In Taberna” episode, where Amanda Green and Dmitri Dovgoselets were jealous and teasing lovers, offered drama in surging moves from the floor to high, still lifts. At its peak, Dovgoselets lifted Green, and the pair was, in turn, held aloft by several other dancers, the layering of the lifts matching the tight layering of the choral voices and instruments.
Posted 09 August 2012 - 12:04 PM
The only word from that review that he might have taken offence at was "dance". Nigel had a love-hate relationship with a lot of things, but dance as a form was up there near the top of the list. He was critical of the lack of content in dance and of most contemporary choreographers, whom he believed hid behind a cloak of abstraction.
For many years, he tried to stop dance audiences from coming to see his work, particularly dance critics. "They don't get it at all, for a start they don't think it's dance," he said. "The best audiences for me, if I can get them, are ordinary people, the people who don't go to theatre."
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