“Red Angels,” by Ulysses Dove, made for a jarring shift. The 1994 work epitomizes the bland aggression of so much contemporary ballet. Set to “Maxwell’s Demon,” an electric violin piece by Richard Einhorn performed by Mary Rowell, the dancers use their bodies as instruments, reacting to the music in fits and starts.
Wednesday, May 22
Posted 22 May 2013 - 01:15 PM
Posted 22 May 2013 - 01:19 PM
Colleen O’Callaghan, American Ballet Theatre alumnae, taught a master class accompanied by Patrick Lindley, pianist/composer for the UCSB Dance Department. David Gell was the Master of Ceremonies. The judges were Liam Burke, Australian Ballet, Broadway shows/movies; Carol Kirkland, dancer/choreographer/teacher at UC Irvine, Allan Hancock College, Adkins Dance Center and Sue Dalton School of Ballet; Alan Hope Kirk, San Diego Starlight Opera, Ballet Rambert, Virginia Ballet, Chicago Opera Ballet, Radio City Music Hall and Australian TV.
Posted 22 May 2013 - 01:22 PM
At the conference, scholars unpacked The Rite's various contexts. Tamara Levitz offered an analysis of the violence pregnant not only in The Rite's scenario but also in its reception. The 2013 celebrations of The Rite have embraced the somewhat historically-tenuous idea that it provoked a riot at its premiere, a fact that has obscured the forgotten, real riots of the 20th century. In fact, as Levitz pointed out, the victory of the conflation of The Rite with a riot can be attributed to impresario Serge Diaghilev, whose marketing ploy in engineering the scandal at the premiere has helped guarantee the work its legendary status today.
Posted 22 May 2013 - 01:24 PM
Marcelo Gomes (ABT), Lisa de Ribere (formerly with New York City Ballet and with ABT), Adam Hendrickson (formerly with New York City Ballet), Gemma Bond (ABT), and Raymond Lukens (Jacqueline Kennedy Onassis School) will choreograph an ensemble of vibrant dancers.
Dancers will include Stephen Hanna, Carlos Lopez, Kaitlyn Gilliland, Nadezhda Vostrikov, Shoshana Rosenfield, Sarah James, Amber Neff and Aran Bell.
Posted 22 May 2013 - 01:54 PM
Some of the things that are still available include a $999 copy of the photography book “Ballet: Photographs of the New York City Ballet” by Henry Leutwyler and signed by the entire New York City Ballet Company, as well as ballet master Peter Martins and the author; a framed ” Midsummer Night’s Dream” tunic worn by dancer Joaquín De Luz for $3,999; various framed prints of photographs of ballet costumes by photographer Carin Ingalsbe that range in price from $1,329 to $2,099; and even a “selfie” or self-portrait by Wendy Whelan for just $55.
Posted 23 May 2013 - 12:51 PM
The New York Times
In “Month,” however, it is male beauty and grace, in the single person of the young tutor Beliaev, that rattles a largely female household: his presence turns three very different women to thoughts of love. Amid a story told with plenty of naturalistic acting and scenic realism, the formal classicism and intense musicality of the dances turn the drama into high poetry.
And then there’s “Drink to Me Only With Thine Eyes,” a work that shows us — wonderfully — a postmodern view of ballet’s sexism. Yes, only women dance on point, only men lift; but the lifted women look no lighter than they are, while in harmonious heterosexual couplings it is the man rather than the woman who extends a straight leg out into the air. “Drink,” while deconstructing ballet, makes sheer dancing larkily irresistible.
The Financial Times
Indirection, much less clouds of inner conflict, does not bode well for a ballet. But in his 40-minute condensation of Turgenev’s three-hour play to three well-chosen Chopin pieces, Ashton converts Russian equivocation into straightforward passion without blighting the drama’s diverse blooms of rapture.
Posted 25 May 2013 - 09:24 PM
He is drawing on his experience as a movement director for West End stage plays, operas and films (he worked on the Harry Potter movies) for this project. Inspiration also comes from his love of physical theatre by creators such as Philippe Genty, the story ballets of Matthew Bourne, the work of Derevo, Philippe Decouflé, DV8 and beyond – as much as the story ballet traditions of the Royal Ballet (albeit with everyone sticking to McGregor’s strict ‘no mime’ rule).
Posted 27 May 2013 - 11:24 AM
The Four Temperaments is the Balanchine masterpiece that can look particularly brittle if it is over-thought and performed as a choreographic Olympus, which was not the case in this performance, the PB dancers attacking it with immediacy and technical muscle....... Gabriella Yudenich is so steeled and supple as Choleric, especially thrilling with her jete work that bolts and suspends in the air. Lauren Fadeley and Francis Veyette who are still newlyweds, got to partner onstage for Sanguinic, are in fact fine unfussy partners, with sublime chemistry.
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