A review of the Bolshoi Ballet in "Swan Lake" by Alastair Macaulay in The New York Times.
The Bolshoi Orchestra, conducted this week by Pavel Sorokin, is superb. Most of the dancers are excellent, with virtues lacking in most Western dancers. And yet on Tuesday’s opening night at the David H. Koch Theater, those merits couldn’t save the company from making “Swan Lake” a bore.
In addition to the new season, Ballet Memphis has promoted McMahon — who directed last season’s ambitious “Peter Pan” — to artistic associate. He remains a dancer and choreographer with the company. Also, dancer Alexis Hedge has been promoted to a full company member. Joining Ballet Memphis as dancers for the 2014-2015 season are Jared Brunson, John Deming, Sergio Masero-Olarte, Olivia Powell and Lauren Pschirrer.
This summer’s performance at ASU is a number of firsts for the theater.
“They have not traveled this far south before, so this is a definite treat to see them live in our own backyard,” Stage said. “They will be performing excerpts from classical pieces, such as ‘Swan Lake,’ but then will showcase some of their original material, as well. The company will challenge your preconceived notions of ballet and open up your minds of the creative possibilities of dance.”
A review of Würzburg's Ballet Gala 2014 by Ilona Landgraf in her blog, Landgraf on Dance.
Gelsenkirchen's 'Ballett im Revier' showed the finale of “Soot – A Story of Cinderella” by artistic director Bridget Breiner. Breiner, who danced with the Bavarian State Ballet, the Semperopera Ballet and the Stuttgart Ballet, attains a respectable level of quality with her small company. This excerpt, danced by the expressive Kusha Alexi and Joseph Bunn, whetted one's appetite for the whole of “Soot”.
Parish was not used to so much attention. "In the Royal Ballet I was just one of the corps guys and not important," he says. "But Yuri saw something in me they didn't see. He saw my potential, and he kept picking up my legs and bending me around and pointing my feet. I loved it. The second week he was there, after class I asked if I could show him some more jumps and I remember for half an hour jumping and jumping and jumping – it almost killed me before I had to run to my next rehearsal. From that time on, we clicked."
A Kickstarter drive is launched for an animated film for children about the life of Janet Collins.
That early disappointment only pushed her to greater heights as her talent took her from stage to stage until she became the first black soloist to perform at the Metropolitan Opera in 1951, four years before Marian Anderson would become the first black person to sing there. She struggled against racism her entire career and, in the process, cleared the way for countless other black dancers to come after her.
Maria Kochetkova is a Bolshoi-trained little gem, performing every step with flawless precision and the ghost of a soubrette’s smile. Yuan Yuan Tan, another of the company’s top women, is a dancer of breathtaking physical perfection, whose smooth, flowing lines could have been tailored in a Christian Dior couture atelier. Most of what these two do in Caprice with their partners, Davit Karapetyan and Luke Ingham, looks great – but that’s more to their credit than the Tomasson’s. After all, Tan probably looks this great taking the bins out; Kochetkova will be this precise in the most boring of class exercises. With only occasional, fleeting moments of emotion or sparky innovation, Tomasson’s sometimes over-fiddly partnering and its accompanying, rather bland music, Saint-Saëns' Second Symphony, left me desperate to see something like William Forsythe – nourishment for brain or heart, as well as eyes.
The second half of the program was devoted to Jerome Robbins’ 1944 classic “Fancy Free,” with music by Leonard Bernstein. This ballet (which inspired the musical “On the Town”) would never get past the 21st-century political-correctness censors. The three sailors’ pursuit of a couple of pretty women, meant to be playful, comes off at moments as threatening.
Level six (the highest level is eight) dancers take part in a drill during a Pacific Northwest Ballet's summer course on July 16, 2014. Young dancers have flocked to Seattle for what is described as a ballet boot camp. Dancers drill in classes, six days a week for five weeks. This summer, 241 students between the ages of 12 and 18 are enrolled for the course, which is also a scouting opportunity for PNB's staff. Select dancers who took this course have later attended the PNB school and been hired by the dance company.
A Rudolf Nureyev story in an obituary for Scottish broadcaster John Milne.
John then went to work in Berne with the Swiss Broadcasting Corporation who were setting up an English language service. There he developed his interviewing ability with encounters with Muhammad Ali and Rudolf Nureyev. Nureyev heard John's first son Grigor had just been born and insisted on presenting his wife Jennifer with a bunch of red roses. It was a gesture John found difficult to match when son number two Jonathan came along.
The Natalia Sats musicians, chorus and dancers performed his production of Petrushka for their company with infectious enthusiasm. They have a treasure of a musical director and conductor in Alevtina Ioffe, who brings Stravinsky’s music vividly alive. Sets and costumes, attributed to Alexandre Benois, could have been drawn from any of his many redesigns for the ballet, reinterpreted by Anatoly Nezhnyi and Anna Nezhnaya. The choreography was re-imagined to include the kind of virtuoso steps Fokine objected to in his manifesto against balletic inauthenticity. This was hardly his vision of traditional Butter Fair festivities.
Less memorable were Justin Peck’s “Furiant” (2012) and Emery LeCrone’s “Opus 19. Andante,” which had its world premiere Wednesday. With music by Antonin Dvorak and Sergei Rachmaninoff, respectively, both were pretty but lacked freshness. Nothing bad could be said about the dancers—except for Russell Janzen’s very visible adjustment in LeCrone’s piece, as Emily Kikta’s weight landed in his arms. He just barely saved the dance from becoming a pas de “doh.”
Sylvie Guillem and Russell Maliphant talk about the genesis of "Push."
Working with a new style of choreography is always a period of adaptation. I had already done some more contemporary work with William Forsythe and Mats Ek, and it had always been very painful at the beginning. You're using different muscles and different alignments, and it can be two weeks before the muscles stop fighting you. But with Russell it wasn't like a torture at all. It was very exciting and light and funny. We were often on the floor laughing a lot.
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