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Mme. Hermine

Sunday, September 22

3 posts in this topic

A review of the Lyon Opera Ballet by Roslyn Sulcas in The New York Times.

“Limb’s Theorem” was choreographed when Mr. Forsythe was six years into his tenure as artistic director of the Frankfurt Ballet, now defunct, a period when he and the dancers were exploring new ways of generating movement. In many ways, the work is a three-act elaboration of those ideas and of Mr. Forsythe’s game-changing extensions of ballet’s possibilities. Yet it is an elaboration of the most thrilling, theatrical kind, a testament to the choreographer’s ability to use light, music and movement to create dreamlike worlds of fierce, inexorable logic and poetry.

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A review of "Fall for Dance" by Martha Sherman for danceviewtimes.

The last two performances were less exciting. From the New York City Ballet, four dancers moved through two duets from “Red Angels,” a quartet choreographed by Ulysses Dove, and accompanied by Mary Rowell on a harsh electric violin. Bristling with high arabesques, deep knee bends, careful pirouettes in exaggerated sequences, the duets were crisp but cold, perhaps owing to the cool air and slippery stage.

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A review of "Roberto Bolle and Friends" by Mary Cargill for danceviewtimes.

There were few overtly Italian works, though the evening opened with what purported to be a pas de deux from the long-lost "Excelsior", a 19th century extravaganza celebrating, among other things, building the tunnel under Mont-Cenis. The pas de deux, credited to Ugo Dell-Ara after the original choreographer Luigi Manzotti, featured Bolle and the Russian Alina Somova, and looked a bit like a combination of the famous "Corsaire" pas de deux and the equally athletic "Diana and Acteon". Bolle ran around in his skimpies, bare-chested and pantherine, while Somova flung herself through a series of fouettes with enthusiastic vulgarity.

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