7 replies to this topic

[dirac]

A review of New York City Ballet by Alastair Macaulay in The New York Times.

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Thursday’s performance was led by Maria Kowroski and Tyler Angle. Ms. Kowroski’s long-limbed looks are spectacular, but her dancing is a matter of dutiful timekeeping. Mr. Angle, however, is at his best in such roles: just the act of looking for her amid the other swans becomes with him a moment of poetic drama. Physically, Ms. Kowroski responds very well to him; it’s to be hoped that she will learn how to suggest, as he does, an inner life.

“Allegro Brillante” starts at that high pressure and then keeps climbing. At this performance, no sooner had the ballerina Tiler Peck entered than she delivered steps with electrifying timing.......

[dirac]

Houston Ballet unveils its 2013-14 season.

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Sentimental: Ronald Hynd's "The Merry Widow" returns, and with it, guest appearances by recently retired ballerina Amy Fote. "I can't imagine going long without seeing it," Welch said of the lush, comic ballet.

[dirac]

Reviews of Company C Contemporary Ballet.

San Jose Mercury News

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A former dancer with New York City Ballet, Ballet Frankfurt and American Ballet Theatre and now a freelance choreographer, Reeder peopled his latest work, "Being Served," with a maid, a butler and a swank dinner party crowd. Right away, he launched the capable cast into taut movement sequences that expressed repression, bitterness and yearning, followed later by sexual abandon, chaos and a whole lot of dying.

The San Francisco Chronicle

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But, with the arresting opening moments of Patrick Corbin's new "For Use in Subhuman Primates Only," the night came alive. All Corbin does is freeze his 12 dancers in near-silhouette in a violet twilight, spaced on the stage so that the tension of expectation is almost unbearable. It's a gift you can't fake, and Corbin, former lead dancer with the Joffrey Ballet and the Paul Taylor Company, has the knack of involving you at some fundamental level.

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[dirac]

Colorado Ballet makes a move.

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"It was important for the company to remain near downtown," Colorado Ballet artistic director Gil Boggs said. "Dancers want to live near a vibrant downtown, and this will go a long way toward helping us recruit."

Colorado Ballet is planning extensive renovations which will give it a larger studio space and room for an expanded school. Currently, about 800 children and adults are enrolled in the ballet's classes, and their tuition provides a significant part of the company's income.

[dirac]

Sergei Filin is badly injured in an acid attack.

Associated Press

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BolFilin suffered third-degree burns on his face and underwent eye surgery Friday evening to try to save his sight, Bolshoi spokeswoman Katerina Novikova said. Doctors said his right eye was badly burned and it would not be clear for days whether the operation was a success.

The Wall Street Journal

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Sergei Filin, 42, suffered third-degree burns to his face and shoulders and underwent surgery on his eyes late Friday. Bolshoi officials had initially said he would be flown to Belgium for further treatment at a military burn center but later said it was decided for him to remain in Moscow so doctors could focus on saving his eyes.

[dirac]

A review of New York City Ballet by Michael Popkin for danceviewtimes.

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It was good enough for most evenings, yet the following night Hyltin, Finlay and Anthony Huxley (in the Gigue) each delivered performances that rate as individual high points. “Mozartiana” has to be danced classically and very clean. Tchaikovksy’s score (Orchestral Suite No. 4, Opus 61) conjures up an ideally restrained eighteenth century, where the composer can shelter from his usual sturm und drang, and Balanchine renders this into dancing that’s unusually chaste and formal. By moving the Preghiera up to the very front of the dance from its usual fourth place in the the score, and also putting four small girls on the stage for it, Balanchine strikes a chord of celestial purity and innocence. La Danse seems a realm free of original sin. Astonishingly, in their very first times out in the leading roles, all three leading dancers managed to dance the ballet technically clean but with an equal grace of innocent expression.

[dirac]

A story on the attack on Sergei Filin by Ellen Barry in The New York Times.

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One simmering conflict has involved Nikolai Tsiskaridze, a popular principal dancer who last year harshly criticized the reconstruction of the Bolshoi Theater and has publicly clashed with the company’s leadership since then. A group of his supporters petitioned President Vladimir V. Putin in November, requesting that Mr. Tsiskaridze be appointed director of the Bolshoi.

[dirac]

A review of New York City Ballet by Tobi Tobias in her blog, "Seeing Things."

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The program moved on to an engaging rendition of Mozartiana led by Sterling Hyltln, Chase Finlay, and Anthony Huxley.  Every season reveals Hyltin’s progress in the combination of delicacy and strength that makes us think of porcelain.  Is it unreasonable to wish that she might develop a hint of a tragic dimension as well?  Finlay is still a so-so partner, whose gradual improvement deserves to be coddled because he’s such a gifted and engaging dancer.  He has a reasonably gracious partnering manner, but he’s still somewhat deficient in the coordination part of the job.