Radacovsky, director of Ballet Bratislava, in the capital city of Slovakia, created the piece for Grand Rapids Ballet Company, premiering the work in May 2011 in Barker’s first season as interim director of the company.
Radacovsky was back in Grand Rapids this month to stage the production.
Friday, May 10
Posted 10 May 2013 - 11:13 AM
Posted 10 May 2013 - 11:16 AM
A professional guest artist from Chicago, Malachi Squires, will dance the part of Prince Florimund. Saturday’s 2 p.m. matinee will be geared towards children with free face painting before the show, and the Fairies Parade meet-and-greet the Northwest Ballet Company after the production...
Posted 10 May 2013 - 11:20 AM
The images were shot in Paris in 2008, Tokyo in 2010 and New York last year, and capture the grace, energy and passion for movement of the dancers against more gritty, exotic and industrial backdrops.
Posted 10 May 2013 - 11:23 AM
If the show ends up elsewhere, it won’t be any time soon. The company is booked solid with other events for the next two years, says Harry Paterson, Alberta Ballet’s director of production and touring.
He says presenters from California and Texas in the Calgary audience will be trying to determine whether a dance based on lang’s life would be a hit south of the border.
Posted 10 May 2013 - 11:28 AM
Violent, nasty and extended well beyond its limitations it is still a courageous effort that could be developed into a seriously powerful ballet. At present it's a case of too many teddies, not enough picnic.
There are a slew of influences at work here, from David Lynch and Stephen King to Alfred Hitchcock and Matthew Bourne, but Scarlett makes the story his own, helped in huge measure by Jon Bausor’s ingenious set which, spilling the action over three levels, brings you up close to the dancers (all excellent) so you’re almost living the story.
Posted 10 May 2013 - 11:36 AM
In the late 1990s, the prognosis for ballet choreography, in the US at least, was dire, with too many new pieces simultaneously portentous and trivial. At New York City Ballet, choreographers evinced little interest in tradition beyond Balanchine at his most inimitably renegade. Then a young corps member, trained at the Royal Ballet, began making dances. With an un-American sweetness, neither smug nor obfuscating, and an eagerness to absorb and transform ballet genres, Somerset-born Christopher Wheeldon was the first of a generation to infuse ballet’s future with hope.
Posted 10 May 2013 - 11:40 AM
She admits to blazing rows with the Royal Ballet’s revered choreographer, the late Sir Kenneth MacMillan, one of which was accidentally broadcast over Covent Garden’s loudspeaker system. But she reserves her strongest comments for the recently retired artistic director, Monica Mason, who first danced with the company as a peer of Margot Fonteyn and spent her whole life with it until she left at the end of last year.
In words likely to stun the dance establishment in Britain, Guillem said: “It was exactly what a director of a company should not be, stupid, frustrated, no vision. That’s why I left when she took over. She did exactly the opposite of what Rudolf did, choose people who were not at the level to be principal.”
Full interview here.
Posted 10 May 2013 - 01:35 PM
Pink's production, which will contain significant changes from the 2007 Milwaukee Ballet production, pares Tchaikovsky's four-hour, four-act score to a more manageable two-act length. It retains the scenes audiences have come to love and expect, while altering some aspects of the rather unwieldy story.
"I wanted to try and give some narrative to the ballet," Pink said. His Rothbart character will be "a man with magical powers who is conjuring a plan to take over the kingdom," rather than a mystical, spell-casting creature.
Posted 10 May 2013 - 01:38 PM
It could be argued that the title of this production is trite, but after having experienced the ballet, it does fit the performance. Balletlujah! is a full-scale production, complete with sophisticated projections and a mirror ball in the middle of the auditorium. Oh, and choreographed dancing as well, though it does seem like that’s a bit of an afterthought.
Posted 10 May 2013 - 01:42 PM
When she presented “Untitled (Blue Ballet),” at the Kitchen in March 2012, the cast included Ashley Tuttle and Brian Reeder, both veterans of American Ballet Theater. The Flux Quartet performed Morton Feldman’s First String Quartet live. For Ms. Tanowitz, a modern choreographer much admired for the way she recharges classical steps, the idea of creating such a ballet had been a long-burning obsession.
But the problems with the work were overwhelming. Instead of ethereal, “Blue Ballet” was bone dry and critics agreed that it was airless. Most choreographers don’t publicly admit their defeats, but for Ms. Tanowitz, 43, doing so was a way to move on.
Posted 10 May 2013 - 01:48 PM
In My Life Duncan says little about her legacy, probably because she died before she could see much of it. She left her mark not just on modern dance, however, but also on ballet, which she so despised. If she was not affected by the Ballets Russes, the Ballets Russes was affected by her. Michel Fokine, Diaghilev’s first house choreographer, was permanently changed by his encounter with her style, above all by the upper-body freedom. Great choreographers who came later—Nijinsky, Bronislava Nijinska, George Balanchine, Frederick Ashton—saw her, if at all, only in her late days and sometimes said unkind things about her, but they too were influenced by her, or by those whom she influenced. It took a while for these connections to be noticed, however. By the 1920s, when My Life was published, Duncan was a back number. This was the time of cocktails and jazz and postwar cynicism—indeed, modernism. She hated them all, except cocktails.
Posted 10 May 2013 - 01:58 PM
She eventually found a way to combine the two worlds, serving not only as a psychologist for the Atlanta Ballet, but also becoming a powerful force for providing accessible mental health care for disadvantaged women.
"I always wore a ballerina around my neck," she said of the gold charm she's had since age 13, which she wore Wednesday in her office at Emory University School of Medicine. "But I never talked about going to ballet. I just didn't think I'd be taken seriously."
Posted 11 May 2013 - 10:32 PM
The new piece, choreographed by Nashville Ballet Artistic Director and CEO Paul Vasterling, with live music from ALIAS Chamber Orchestra, tells William Shakespeare’s tragic tale of power and greed in intimate, bare-bones, sinewy style. Pared-down costuming and the studio setting allow for tight focus on the story being told.
Posted 11 May 2013 - 10:55 PM
The Washington Post
Hemingway’s lean, economical writing style doesn’t have much of an echo here, though by Washington Ballet standards, the production that premiered Thursday at the Kennedy Center is surprisingly restrained. Even with its shimmering Chandelier Lady (Aurora Dickie, ice water flowing in her veins), who was borne over the heads of several men wearing an enormous confection of crystals on her head. And even with the Cancan Girls, who hollered like wildcats and kicked with such vigor that one of them busted a garter.
The distractions for Act 1, set in Paris after World War 1, don’t fit the period. There’s can-can dancing, for instance, which belonged to an earlier time, the Belle Epoque and not to the Lost Generation. The can-can steps seem copied, badly, from Leonide Massine’s “Gaite Parisienne”, being neither well paced nor built into a climax. Other dancing that occurs seems more suitable for the likes of Colette’s “Gigi”. Where is the sense of loss that gave this Lost Generation its name? On occasion, impressionistic passages of acrobatic adagio fill the stage but little of the movement consummates – which doesn’t seem an intentional reference to Jake and Brett’s dilemma. Rather, Webre’s steps become repetitious, perhaps because of Novick’s pretty yet slight score.
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