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Mme. Hermine

Sunday, April 7

4 posts in this topic

Rosa Silverman writes for The Express on Sergei Polunin:

http://www.telegraph...e-walk-out.html

The Ukrainian dancer caused a stir last week by disappearing just days before the opening night of the Peter Schaufuss ballet Midnight Express.

He was said to have fallen out with the director, while friends hinted at depression playing a part in his decision.

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An interview with PNB's music director:

http://seattletimes.com/html/thearts/2020703381_interviewpnbxml.html

“It just goes straight to your heart from your ears,” says Emil de Cou, music director of Pacific Northwest Ballet. He’s speaking of Peter Ilyich Tchaikovsky’s iconic score to “Swan Lake,” composed in 1875-76. “The great thing with Tchaikovsky that I find is that the response to the music bypasses thought and analysis. You’re not aware of what he’s doing.”

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PNB ballet master Paul Gibson is interviewed:

http://thesunbreak.com/2013/04/07/in-step-with-a-pnb-ballet-master-paul-gibson/

Without the ballet master, a work is not going to arrive on stage at the level of performance we expect from this company, or any other professional company for that matter. The ballet master is the linchpin around which the high caliber of a ballet company revolves, and he or she works very hard.

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A review of New York City Ballet by Alexandra Tomalonis for danceviewtimes.

The closing Rosenkavalier Waltz, the finale to end finales, simply looked tired, and the best indication of how disappointing the ballet was was the lack of applause as the waves of dancers swept onto the stage. There used to be three. To be fair, friends who attended the Saturday evening performance said that it was better then, but if Saturday afternoon was the first time you saw “Vienna Waltzes,” or (perish the thought) a Balanchine ballet, it would have been an unfortunate introduction.

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