An appreciation of Ivan Nagy by David Lee Simmons in The New Orleans Times-Picayune.
After his surprise retirement from dancing in 1978, Mr. Nagy went on to direct several ballets — including one with a New Orleans connection. He served as an artistic director in a unique collaborative arrangement between the New Orleans and Cincinnati ballet organizations in the 1980s, and while the partnership didn’t last very long, Nagy’s connection to the Crescent City remained to the very end.
“Grosse Fugue,” created for Ms. Marin’s own company in 2001, is both rough and refined. It sets four women — in different shades of red — running, leaping, rolling and just walking to Beethoven’s mammoth, impassioned and complicated quartet. The movement is deliberately pedestrian — there are no stretched limbs, no pointed toes. But the energy and intent of the women (Dorothée Delabie, Agalie Vandamme, Amandine François and Aurélie Gaillard) as they move in canon, counterpoint and unison, is extraordinary to watch.
Copeland will be visiting Anderson’s Bookshop for a rare afternoon appearance on Sunday, March 16 at 2:00 p.m. To receive a priority number, fans are welcome to purchase the author’s new book from Anderson’s to hold their place in the signing line. Copeland will meet her fans at Anderson’s Bookshop, 123 W. Jefferson Ave. in downtown Naperville.
JR will create a “pièce d’occasion” for New York City Ballet.
“Choreographing has been a totally new experience for me,’’ JR, who had never seen a ballet before going to work with the company, said in a statement. “The dancers became my paper and have helped me draw my vision and create new things.”
“I think it’s a very interesting time for Miami City Ballet right now, because it’s a very interesting time for Miami,” Lopez says, the sun shining through her office window. On the wall hangs a painting of a young Lopez with her mentor, choreographer George Balanchine. A signature reads: “To my dear Mona Lisa Lourdes, with love, Leonardo Balanchine.”
The program was hit-and-miss. None of the ballets quite came together, although individual dancers provided staggering moments all across the evening: Miles Thatcher's visionary jumps in Tears, Daniel Deivison-Oleivera's Rock of Gibraltar stance in the same piece, Dores Andre's astounding splits on pointe in Borderlands. If her legs had been hands on a clock, they'd have pointed to 10 past six!
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