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dirac

Friday, May 31

11 posts in this topic

Two reviews of Houston Ballet.

Houston Chronicle

"Ballet Imperial" could have been a hard act to follow. But Jirí Kylián's "Sinfonietta" came across as an absolutely radiant rush of dancing.

Intensely fluid and outrageously fast, the choreography keeps bodies flying through the air and sliding over the ground nonstop for the duration of Leoš Janácek's fanfarelike, brass-rich score. Bravo to all the dancers as well as the orchestra and conductor Ermanno Florio.

Houston Press

Karina Gonzalez is magnetic in Balanchine's work, every turn of the head and flourish of the hand an extension of the music. She's luminescent as the soloist in pink, every tiny gesture a shard of pure beauty.

Jiří Kylián's Sinfonietta is also a study in form, but of a more geometric variety. There is an abundance of symmetry on display, from the even number of dancers onstage at any given moment to the mirror images created by outstretched arms and legs shooting in opposite directions. The beauty of Kylián's piece is the simplicity of its design....

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A look at the current state of narrative ballet by Judith Mackrell in The Guardian.

One of the criticisms being levelled at Raven Girl is that it relies too heavily on props and projected words to tell its story. It's a flaw I pointed out in my own review, and which commenters picked up beneath the line. And this week I've been wondering why we're so quick to assume there's some ideal ratio of dance to non-dance that ballet shouldn't transgress.

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A story on the appointment of Devon Carney as the artistic director of Kansas City Ballet.

Carney will play an integral role in the company's plan to begin a second, smaller company to train younger dancers. The Cincinnati Ballet has a second company, similar to the one Bentley hopes to begin.

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The Goh Ballet celebrates its thirty-fifth anniversary.

Also, a brand new work entitled Wonderland will have its world premiere as part of the show. A special commission, the contemporary piece was created by Macedonian choreographer Sasha Evtimova, who collaborated with Goh Ballet's dancers in studio to create her first-ever piece for a Canadian audience.

Finally, the West Coast company of young dancers will perform the third act of Danish ballet maestro August Bournonville's Napoli, after having been coached and directed by former Royal Danish Ballet Artistic Director Frank Andersen.

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Alabama Ballet offers summer classes. Item in brief.

Classes in ballet technique, pointe, variations, partnering, modern, jazz, hip hop and Pilates are being offered June 3-29.

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Monique Meunier and Nilas Martins are appointed co-directors of the Academy of Nevada Ballet Theatre.

Also a soloist with American Ballet Theatre, Meunier most recently served as ballet master for the Washington Ballet and as a full-time faculty member for its associated school.

Martins recently completed a fellowship at the Kennedy Center’s DeVos Institute for Arts Management program and also teaches master classes in Maryland and Washington, D.C.

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Judith Mackrell asks readers what new story ballets they'd like to see.

As I've written elsewhere on the site today, most of the story ballets in the repertory are based on a very limited range – fairytales, 19th-century novels, Shakespeare, the recycled librettos of lost ballets all crop up over and over again.

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The Birmingham Royal Ballet revives "Coppelia."

Ms Lishman added that Peter Wright’s enchanting production was sure to prove popular.

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An interview with philanthropist David Lloyd.

What David Lloyd – the accountant, not the tennis player and health club owner – means is that he is indulging in his love of dance when he sponsors Birmingham Royal Ballet, because it gives him unprecedented access to the creative process.

But it’s hardly selfish of him to contribute to the survival of BRB, to which he has donated more than £500,000 over 18 years.

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A review of Ballet Memphis' "InteriorWorks" program by Jon W. Sparks in The Commercial Appeal.

This is the 14th installment of the informal, experimental event that gives the dancers/choreographers freedom to pursue their own visions. The 10 pieces shown Thursday evening at Ballet Memphis’ practice space showed varying degrees of imagination, but all had a lot of heart.

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Christopher Wheeldon sexist, out of touch, complains Alastair Macaulay in The New York Times.

There are some grounds for hope in the latest City Ballet creations. In both cases Mr. Wheeldon puts some occasional space between man and woman, and even gives the man a little dancing to do on his own — the average Wheeldon pas de deux gives all the steps to the woman — but the tone is too flimsy to make this interesting. Stage geometry, with which he can be brilliant when it comes to moving a large ensemble around, counts for little in any of his pas de deux: you could move the action a few yards to right or left and it would make little difference. For him a duet is all about proximity; he has never dramatized the distances between people, spatial or emotional.

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