After Balanchine, Scarlett unhesitatingly cites his fellow contemporary choreographer Kenneth MacMillan and his work with pas de deux as having a real influence of his own work. On Friday night many of the most astonishing moments of Scarlett's "Euphotic" came from the pas de deux -- or rather the pas de tres. Jeanette Delgado, whom Scarlett has called one of the world's great ballerinas, was the centerpiece of many of these partnerships. Even as she was lifted, her movements and those of her partners kept changing, becoming every time more beautiful.
Monday, January 14
Posted 14 January 2013 - 12:17 PM
Posted 14 January 2013 - 12:24 PM
Nor is Acosta's new book Pig’s Foot, an ambitious story encompassing a broad sweep of Cuban history, even his first successful literary venture. In 2007, his bittersweet autobiography No Way Home was published to a warm reception. It is, however, his first attempt at fiction, which – considering how very few novels by dancers there are – makes the achievement all the more remarkable.
Posted 15 January 2013 - 12:23 PM
For the first night, the theater will bring to life the full-length, three-act ballet, “Cinderella.” With music by Sergei Prokofiev and choreography by Rostislav Zakharov, the beloved fairy tale will include lavish sets and authentic costumes from the Bolshoi Theatre era.
Posted 15 January 2013 - 12:28 PM
The Texas Ballet Theater School sent ensembles from their campuses in Dallas and Fort Worth, and we were also treated to an appearance of TBT's second company. The school ensembles performed with the technical clarity and skill that we've come to expect from their name. TBT II especially stood out with Ben Stevenson's Pas de Six.
Ballet Ensemble of Texas brought the best work of the evening with Lisa Slagle's Rhapsody, neo-classical ballet with black-and-white clad dancers. Dallas Blagg and Katie Cheng delivered an exquisite duet, in addition to their respective solos. Their performances, however, only completed an already outstanding picture. Elaborate floor patterns and precise pointe work did much to bolster the piece, but its biggest strength was that the dancers truly looked alive.
Posted 15 January 2013 - 12:29 PM
What distinguishes this production is Sabas-Gower’s choreography. Prokofiev’s music to the ballet is heavy, especially with its bold scoring in the first act. She instead directs the entire opening act with a light hand. Sinderela’s past is presented in a series of tableaux that recount her mother’s death, her father’s marriage to Traviesa, and his death, accomplishing in just a few minutes what would normally take so much more time. Sabas-Gower then works her magic by keeping things moving quickly.
Posted 15 January 2013 - 12:32 PM
Acosta, who grew up in a cramped Havana apartment with 10 siblings and went on to perform as guest principal artist with most of the world's leading ballet companies, spent four years writing Pig's Foot in breaks between rehearsals after finding the process of writing his autobiography "very therapeutic".
0 user(s) are reading this topic
0 members, 0 guests, 0 anonymous users
Help support Ballet Alert! and Ballet Talk for Dancers year round by using this search box for your amazon.com purchases. (If it doesn't appear below, your computer's or browser's adblockers may have blocked display):