7 replies to this topic

[dirac]

A review of New York City Ballet by Rhys Loggins for Broadway World.

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In A Place for Us, Wheeldon continues to show us exactly what is wrong with most contemporary ballets and what makes his the best. Place is crisp and clean. The costumes are simple and the dancing is demanding. The work is pure and unaffected, quite the opposite of Millepied's ballet. Tiler Peck was stunning in Place. It was nice to see her dancing in a piece in which she could truly shine.

[dirac]

The Eifman Ballet brings "Rodin" to Toronto.

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Eifman explains his attraction to the subject as twofold. "Rodin's personality has been always very close to me. First of all, Rodin worked with the human body to express the most complex emotional states and philosophical ideas by means of plastique. He has solved the same creative tasks as a choreographer. The only difference is that if Rodin's sculptures are the frozen marvellous moment, then we disclose this moment in dynamics. We saturate it with dance energy."

[dirac]

A review of Boston Ballet  in 'Coppelia' by Mehron Kugler for The Bay State Banner.

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This latest production was leaps and bounds ahead of its 2010 debut in bridging the gap between the “high art” world of physical finesse and the audience. No translation was needed for much of the physical dialogue; Boston Ballet’s directors and choreographers have greatly improved their dancers in the art of communication. In some places, the gesturing was too emphatic and the meaning was lost, or lacked backstory, but overall, the audience was very much entertained.

[dirac]

Video clip of Moscow Ballet La Classique rehearsing their Nutcracker.

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Moscow Ballet La Classique was founded 23 years ago by director Elik Melikov and is performing in New Zealand until the end of the month as part of their tour of Australasia.

[dirac]

A review of the "Diaghilev and the Ballets Russes" exhibit at the National Gallery by Alastair Macaulay in The New York Times.

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Although I’ve watched Diaghilev ballets and visited Diaghilev exhibitions for more than 30 years, this show added to my knowledge, and gave several old thrills new intensity. It bestows equal honor to ballets that have stayed in repertory, from “Petrouchka” to “Prodigal”; it illumines several that did not survive Diaghilev’s death (and the subsequent closing of the company) in 1929, including “The Blue God,” “Ode” and “The Ball.” What’s more, some of its most poetically marvelous designs and costumes belong to productions that even histories of the Ballets Russes often overlook.

[dirac]

Radio station WRTI invites listeners to create videos with "The Rite of Spring" as accompaniment.

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One of the centerpieces of our Rite week is an invitation to professional artists and the public alike: Take the last minute of Stravinsky's inimitable score — in an exceptional performance by conductor Valery Gergiev and the Mariinsky Orchestra (see the audio below) — and create a new video to go along with this music.

[dirac]

Saratoga Springs offers various events celebrating Rite.

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For dance enthusiasts, there is a new exhibition at the National Museum of Dance titled A Riotous Work: A Centennial Celebration of the Rite of Spring. The show, which runs through November 24, examines the original ballet as well as the numerous and diverse choreographers and companies that have since re-envisioned the work. Companies and choreographers featured in the exhibit include Maurice Bejart, Molissa Fenley, Andonis Foniadakis, Martha Graham Dance Company, Heddy Maalem, Paul Taylor Dance Company, and the The Royal Danish Ballet.

[dirac]

The dissolution of the Metropolitan Opera's ballet troupe is noted by Classicalite.

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Most of the Western world's biggest opera companies--London's Royal Opera, Paris Opera, La Scala in Milan--do indeed have in-house ballet troupes. Of course, in addition to dancing for opera, these ballet groups also have their own performance season.