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dirac

Saturday, January 18

7 posts in this topic

The Royal New Zealand Ballet brings "Giselle" to Southern California. Preview by Susan Reiter in The Los Angeles Times.

Their "Giselle" includes a good deal of the traditional, well-known choreography, particularly in the second act. But they did bring a fresh perspective, and deep familiarity with the lead character of Albrecht — the nobleman who toys with a village girl's affections, with deadly results. Their version is presented from the perspective of a much older Albrecht, seen at the start.

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A review of the Royal Winnipeg Ballet in 'Romeo and Juliet' by Stephan Bonfield in The Calgary Herald.

....van Dantzig’s choreography has been criticized for its distracting and overcrowded clutter, but this was hardly in evidence. On the contrary, the company succeeded very well and at all times with its appropriate balance in the use of the stage.

Even though tonight’s performance was a technically flawed one with multiple timing errors and assorted issues throughout, there was still much to be praised in the individual performances and in what proved to be a solid outing for the corps de ballet as well.

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An interview with Benjamin Millepied.

His plans for the Paris Opera Ballet include nurturing new home-grown choreographers, tailor-making works for the ballet, making ballet more popular and beefing up its online presence. ''The biggest challenge is moving ballet forwards with works that are relevant to our time. I am looking at how to broaden the name of the company and to make ballet more popular. Not at all by cheapening it - but by doing works of integrity. I definitely want the Paris Ballet Opera to keep as open-minded as it has been and be open to modern choreographers.''

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A review of Heather Kravas' "a quartet" by Leigh Witchel for danceviewtimes.

Obsessions are rarely dull, and Heather Kravas’ “A Quartet” is obsessive, repetitious – and often fascinating. The ninety-minute piece for three women and a man methodically and hermetically drilled through a tight range of movement from elementary ballet to marching. Kravas also offered us speech, but no narrative. Yet if we weren’t always sure where she was headed in the four long sections that made up “A Quartet,” she seemed to be.

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A review of Whim W'him by Michael Upchurch in The Seattle Times.

Wevers, in short, means business. And his two works in “Instantly Bound,” so wildly different in mood and method, suggest he plans to do business on both challenging and entertaining fronts.

The title piece, created last year for Philadelphia’s BalletX, is a meditation on “sudden death by gun violence.” It’s a deliberately fragmented work: shards rather than sequential paths of movement. Disruption, sudden collapse and abruptly dark or empty spaces haunt it.

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An interview with Liang Xing of the Royal Winnipeg Ballet.

''Johnny Chang, the senior ballet master with The Royal Winnipeg, had worked with the National Ballet of China and he asked if I would be interested in coming to Canada as a guest artist,'' says Xing, who jumped at the opportunity.

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A preview of "Men in Motion" by Alexander Fury in The Independent.

That's a pretty hefty trio of contemporary choreographic talent: Pita is the hand that created the acclaimed balletic evocation of Kafka's The Metamorphosis for Watson last summer. The former has created a new duet between Stuttgart Ballet Principal Marijn Rademaker and Watson, to be accompanied live by Dan Gillespie Sells of The Feeling. "One of the important things to show," says Putrov, "is that dance as an art form is live and booming".

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