Friday, September 7
Posted 07 September 2012 - 11:48 AM
Posted 07 September 2012 - 11:50 AM
Posted 07 September 2012 - 11:52 AM
Posted 07 September 2012 - 11:53 AM
It's not just sure-footedness, abundantly evident in "Clear." Nuances play out in bodies that aren't afraid to luxuriate in the music. Welch created "Clear" for American Ballet Theatre in the fall of 2001, shortly after the tragedies of 9/11. Now it looks made for Houston Ballet.
Although there's a female figure in a prime role, "Clear" shows off the men's prowess. They've never looked sharper, and the audience noticed, applauding flashy moments of dazzling tours and fouettes.
Posted 07 September 2012 - 11:58 AM
If no black ballerina has danced the female lead in Swan Lake at Covent Garden, it's not because anyone's opposed to the idea. Covent Garden audiences love Carlos Acosta, and a black Odette-Odile of the calibre of existing Royal Ballet ballerinas would be a sensation, and box-office magic.
Posted 07 September 2012 - 01:23 PM
It helps, of course, that "Carry On" is a collaboration with the local band Paper Bird, whose folksy, voices-upfront sound has won it a growing number of fans across the country. The piece pulls audiences from both the concert and dance crowds.
"Carry On" is also the kind of work that can stretch comfortably to a larger house. With bright lights and busy projections, the piece lasts a full evening and features 10 dancers and seven musicians.
Posted 07 September 2012 - 01:24 PM
For its first UK tour in eight years, the company is bringing three mixed bills, with works by Possokhov, Morris and up-and-coming choreographer Edwaard Liang, plus three recent creations by Britain’s Christopher Wheeldon, another SFB regular. Tomasson’s own choreography – he has more than 40 works to his name – will be showcased too, in Trio, created last year. That’s not to say Balanchine has been forgotten. In a nod to US ballet’s presiding spirit, Tomasson will open the London season with Balanchine’s Divertimento no 15.
Posted 07 September 2012 - 01:28 PM
Posted 09 September 2012 - 09:31 PM
MCB grew to play a vital role in the dance world, one not fully appreciated in its hometown. Within a decade of Balanchine’s death in 1983, there was a growing sentiment that the genre-changing repertory he created for New York City Ballet was losing its integrity and edge. But Villella’s troupe — despite its small size, youth and relative lack of virtuosity — soon became known as a haven where the master’s revolutionary ideas, acute musicality and brilliant craftsmanship were honored and expressed. More than once, a dance critic or ballet lover in New York, the capital of the dance world, told me how lucky I was to live in a city where I could regularly see the company perform.
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