In all, the season will feature performances of 50 ballets in celebration of New York City Ballet’s 50th anniversary at Lincoln Center for the Performing Arts, which has been the Company’s home since the New York State Theater (now the David H. Koch Theater) opened in April 1964.
Tuesday, April 16
Posted 16 April 2013 - 11:16 AM
Posted 16 April 2013 - 11:20 AM
The selection of the pieces and the order of the program were thoughtfully done. The dancers rendered tribute to love, loneliness, chaos, happiness, personal relationships, lack of communication and the theme of community in the Native American culture. They demonstrated that dance should not only be artistically beautiful but also have social content.
Posted 16 April 2013 - 11:24 AM
"There are moments when Iago moves crisply and is filled with this energy, and then, a few seconds later, he's extremely snakelike," Adamczyk said. "The moves have to have large amplitude. Imagine a sheet hanging in the wind, the way everything ripples and then finishes out to its completion."
Posted 16 April 2013 - 11:34 AM
His lawyer Violetta Volkova argued in court that 155 staff at the Bolshoi had signed a letter testifying to Dmitrichenko's good character and supporters were prepared to post bail of 500,000 rubles ($16,000, 12,000 euros).
Dmitrichenko asked the court to release him from detention pending trial, and his defense argued that he, as a professional dancer, needed regular exercise, which is impossible in the detention facility, and that the investigation wrongly qualified Dmitrichenko's actions, insisting that the form of the crime was chosen by the man who actually committed it.
Posted 16 April 2013 - 11:36 AM
Below, Tallchief discusses her identity as a Native American and as a ballerina: “You see, I think it is an innate thing in the American Indian to want to move, to want to dance. This is the way we are. We express our happiness, or our sorrow, in dance. This is the heritage.”
Posted 16 April 2013 - 11:38 AM
This is the first time Matthew has given any company other than his own one of his full pieces to present, and it’s a massive coup for the company, which beings touring the Scottish story later this April.
“Working with Matthew is a really unique experience, he’s never let any other ballet company do any of his full length works before. It’s huge honour to have him trust us with this work,” Scottish Ballet’s chief executive Christopher Hampson said.
Ever fancied getting a sneaky peek at the elaborate sets, or fancied finding out how some of the more intricate pieces are created?
Then check out this tour of the Scottish Ballet headquarters, where all will be revealed. It’s an absolute must for fans of the company’s work.
Posted 17 April 2013 - 11:44 AM
"You gotta sometimes have the courage to go out there and do something like this, and I think the overall effect will be positive," Piazza said Tuesday after his costume fitting for the role of a gangster in "Slaughter on Tenth Avenue."
Posted 17 April 2013 - 11:49 AM
Mateo transforms John Adams’s “Fearful Symmetries” into his own “Fearless Symmetries” (2008). The ballet’s underlying scenario loosely suggests a young girl (Magdalena Gyftopolous) thrust into the heady excitement of urban life, gradually succumbing to its chaos and social pressures. She is the innocent amidst the sassy swagger of the ensemble, with their tilted pelvis slides and shimmying shoulders. Adams’s percolating rhythms evoke a fast-paced cityscape, with brass chords blaring like rude car horns....
Posted 17 April 2013 - 02:30 PM
The marriage lasted five years, during which time the two of them molded Tallchief into the great thing that she became. Many of the roles that Balanchine created for her, or that she is remembered for—the Coquette in “La Sonnambula,” the Fairy in “Le Baiser de la Fée,” Sanguinic in “The Four Temperaments,” the virtuoso ballerina of the first movement of “Symphony in C,” the Firebird in the ballet of that name, the Sugar Plum Fairy of “The Nutcracker”—have a note of dominance, related, I think, to the Imperial Russian Ballet tradition and bred into her not just by Balanchine but by Nijinska, too, and perhaps also by the example of the great Ballet Russe ballerina Alexandra Danilova, all three of them graduates of the Imperial Ballet school.
Posted 22 April 2013 - 02:13 PM
Let’s not neglect the supporting cast, which is full of riches. In the past, Jonathan Porretta shone as the virtuosic Jester; he’s still just as sharp, but in this run he shares the role with Kyle Davis, Kiyon Gaines, and Benjamin Griffiths. Both Gaines and Ezra Thomson gave first performances as the fussy tutor Wolfgang, and both developed a wide variety of stage business for the tipsy character—now much more distinctive than the usual “companion to the prince” role. Finally, Laura Gilbreath danced the “Persian” solo with incredible aplomb, making a figure that could easily devolve into kitsch into a demigod.
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