This is full-force Frampton, filled with those masterful solos that wail and caterwaul, that grind and sing and throb and . . . well, raise holy hell on the stage. And the same thing for the ballet. Youthful, powerful, sensuous, athletic. Once they settled into the hyped-up rhythm of a show like this, the dancers proved equal partners to Frampton and his gifted band.
Saturday, April 27
Posted 28 April 2013 - 04:53 AM
Posted 28 April 2013 - 04:56 AM
“Nae Regrets.” features original music by Scottish composer and arranger Martyn Bennett, which Enos created especially for Grand Rapids Ballet.“It's a stronger work when you know the people you're working with, and you see something in them that you can bring out.”
“This is exactly why we have an artist in residence,” Barker added. “So they get to know the dancers.”
Posted 28 April 2013 - 04:57 AM
Also on the program is Margo Sappington’s “Common People,” set to the music of Ben Folds Five and the voice of the one and only William Shatner. The third is the world premiere of “Energy Made Visible” by one of American’s most acclaimed choreographers, Karole Armitage.
Posted 28 April 2013 - 04:58 AM
Sharing the program with “Carmina” is another of her most popular ballets, the abstract 1994 work “Seasons,” set to Antonio Vivaldi’s famed baroque-era violin concertos, “The Four Seasons.” It’s a mix of classical and neoclassical steps built around the “Fall” concerto, a pas de deux. The violin soloist will be City Ballet Orchestra concertmaster Tiffany Sieker.﻿
Posted 28 April 2013 - 05:01 AM
This production included two Alices: Kelsey Schwenker as the real-world Alice, who chases the White Rabbit, and the Wonderland Alice, Erin Alarcón, who navigates each strange new encounter. Schwenker is terrific at portraying the sense of urgency of keeping up with the White Rabbit, while Alarcón alternates beautifully between being curious about and bewildered by her surroundings. Throughout the performance, the two engage in mirror dancing, poignantly balancing off each as they go through their separate albeit linked journeys.
Posted 28 April 2013 - 05:03 AM
Balletomanes will mark the 30th anniversary of the death of the Russian-born but quintessentially American innovator Tuesday, April 30. The choreographer’s legacy has been cemented by what has come to be called the “Balanchine diaspora,” a cadre of disciples who danced for him in New York and have brought his aesthetic and his greatest works to companies around the globe.
One of them is Ballet Arizona artistic director Ib Andersen, who stages an “All Balanchine” concert each season....
Posted 28 April 2013 - 05:07 AM
The dancer has been performing in Don Quixote at night and has been put through her paces in Bella Figura by Kylian repetiteur Elke Shepers during the day. Shepers was a dancer with the Nederland Dans Theater when Kylian created the work in 1995. She is now one of the custodians of his ballets, overseeing choreography and other aspects of his works at dance companies around the world.
Shepers says her goal is not to make each production of Bella Figura identical. "You can't. It's impossible,'' she says. ''You work with life; with people with personalities, their own minds.''
Posted 28 April 2013 - 05:09 AM
Opening in Sydney on Tuesday, Vanguard, a mixed program of works by choreographers who "shook the ballet world to its core", will also feature George Balanchine's classic The Four Temperaments (1946) and Czech choreographer Jiri Kylian's abstract work Bella Figura (1995).
Dyad 1929, created by McGregor for the national company in 2009, holds a special place for McAllister.
Posted 28 April 2013 - 05:12 AM
McAllister, who was a seven-year-old boy in 1960s Perth when he took up ballet, faced a harder road. It took him a year to convince his parents and then find a teacher willing to take him on. For the next nine years, McAllister was the only male dancer in his school.
He did not have an easy time, especially at the single-sex school he attended. McAllister said he did not mind being different and putting up with ''carry on''. But many teenagers would cringe at the thought of standing out from the crowd and especially being labelled as gay.
Posted 28 April 2013 - 05:17 AM
In classical dance, female choreographers are rare indeed, and the dynamics of vocational ballet schooling are at least partly responsible. Boys see themselves as individuals from the start, but girls quickly learn how replaceable they are, and in consequence can become over-anxious to "fit in".
"When I was a student," one Royal Ballet soloist remembers, "the highest praise was to be told that you were a 'good girl'." While this makes for loyal, biddable corps de ballet dancers, it doesn't encourage young women to take a proactive approach to their own creative careers.......
Posted 28 April 2013 - 05:19 AM
This year two Canadians have been handpicked to join the dance festival — Jason Reilly of Stuttgart Ballet and Matthew Golding of Dutch National Ballet.
Reilly was born in Toronto and trained at the National Ballet School before joining Stuttgart Ballet in 1997. He’s now a principal dancer and was asked to dance the lead in Eugene Onegin.
Posted 28 April 2013 - 09:17 PM
Navas is not a classical ballet choreographer, and while he does use pointe work and a few recognizable ballet steps in the first act, the contained dance vocabulary of his Giselle is stamped with his own kinetic imprint. His articulation of the body torques at the middle, with energy gathering in and flung out at the edges. Heads repeatedly toss, dizzy with love. Dancers travel parallel to the floor in lifts.
Posted 28 April 2013 - 09:31 PM
Maria Tallchief - the native American ballet dancer who was a muse to her husband George Balanchine.
Posted 29 April 2013 - 11:03 AM
The chemistry between McKay and Pacific Northwest Ballet corps member Steven Loch (Franz) was evenly balanced. Both are powerful dancers with amazing stamina, which only enhanced the audiences’ anticipation for their pas de deux at the end of the show. We were not disappointed. Loch ate up the stage with his grande jetes and double tours en l’air while McKay dazzled with her pique turns sequence.
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):