Jump to content


This site uses cookies. By using this site, you agree to accept cookies, unless you've opted out. (US government web page with instructions to opt out: http://www.usa.gov/optout-instructions.shtml)

Monday, October 21


  • Please log in to reply
5 replies to this topic

#1 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 25,770 posts

Posted 22 October 2013 - 11:27 AM

A review of the English National Ballet in "Le Corsaire" by Roslyn Sulcas in The New York Times.

 

Although you might think that in a ballet with a thin story, the acting isn’t important, it almost matters more; without the dancers’s complete investment, the triviality feels more acute.

 

And there, for the moment, lies the problem with English National Ballet’s rendition. On Thursday, a pronounced lack of dramatic conviction informed most of the performance, with only Ms. Cojocaru as Medora and Yonah Acosta as Birbanto (Conrad’s chief man, who turns out to be a bad lot) bringing persuasive theatrical verve to their roles.

 

 



#2 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 25,770 posts

Posted 22 October 2013 - 11:33 AM

Reviews of the Royal Ballet in "Romeo and Juliet."

 

The Independent

 

Returning to the stage after a long injury, the Royal Ballet’s Lauren Cuthbertson is back in peak condition. She takes real risks in the giddy, swooning steps of Kenneth MacMillan’s duets, swooping right off balance and trusting her Romeo, Federico Bonelli, to catch her. Yet this revival just falls short of passion. There’s plenty of care in the storytelling, but the ballet’s star-crossed lovers need headlong ardour and despair.

 

The Stage

 

The rest of the Royal Ballet dancers performed with duty rather than inspiration, with some of the crowd scenes in Act I and Act II marked rather than authentically acted. However, the orchestra was inspired, with conductor Barry Wordsworth providing a sumptuous and amorous account of Prokofiev’s score. Next to this, the sets and costumes felt dated.

 



#3 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 25,770 posts

Posted 22 October 2013 - 11:47 AM

Sacramento Ballet opens its season with an all-Stravinsky program.

 

The opening program, like the entire season, was chosen by Carinne Binda, Cunningham’s wife and co-artistic director. Binda is celebrating her 25th anniversary as co-artistic director of the company. “I asked her, ‘What do you want to see? What’s special to you?’ and we built the season from there,” Cunningham said.

 

 



#4 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 25,770 posts

Posted 22 October 2013 - 11:58 AM

A review of New York City Ballet by Sondra Forsyth for Broadway World.

 

"Episodes", which premiered at the City Center of Music and Drama in 1959, came next. Again, the young City Ballet dancers (including some gifted apprentices) offered a faithful and impeccably rehearsed rendition of this ballet. NYCB has often been criticized for sloppy corps work but at this performance, I saw nothing but precision. That is especially impressive given the challenge of dancing to the twelve-tone score by Anton von Webern, a disciple of Arnold Schoenberg. In the 1977 book "Balanchine's Complete Stories of the Great Ballets," with Francis Mason, Mr. B wrote that Webern's score "seemed to me like Mozart and Stravinsky, music that can be danced to because it leaves the mind free to 'see' the dancing."

 



#5 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 25,770 posts

Posted 22 October 2013 - 11:59 AM

A preview of Christopher Wheeldon's 'Cinderella' by Adam Hetrick in Playbill.

 

Utilizing themes from the Grimm and Perrault versions of the fairytale, Cinderella had its world premiere in December 2012 with the Dutch National Ballet. The San Francisco Ballet performed the American premiere in May 2013.

 



#6 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 25,770 posts

Posted 22 October 2013 - 12:01 PM

A review of San Francisco Ballet by Barnett Serchuk in Broadway World.

.....Without a musical dialogue, there is no ballet. Even the beautiful dancing of Vanessa Zhaorian, Vitor Luiz, Sarah van Patte, Tii Helmets, Anthony Spaulding, Maria Kochetkova and Gennadi Nedvigin could not compensate for the ballet's blandness. I am positive that I am in the minority here, but the music was only used once for a John Taras ballet at New York City Ballet that was quickly dropped from the repertoire. I don't see Trio having a long life.

 

Christopher Wheeldon, who seems to be everywhere these days but Kazakhstan, choreographed Ghosts, a moody, ethereal ballet. With music by C.F. Kip Winger, who studied ballet and now has his own rock band, the ballet seemed headed for a shadowy, disconnected atmosphere, that place where everything is on the verge of eruption, but fails to do so. And that's exactly what we got.

 




0 user(s) are reading this topic

0 members, 0 guests, 0 anonymous users


Help support Ballet Alert! and Ballet Talk for Dancers year round by using this search box for your amazon.com purchases (adblockers may block display):