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Monday, May 21

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A review of American Ballet Theatre in 'Giselle' by Mary Cargill for danceviewtimes.

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Katherine Williams is a tall, light, and very beautiful dancer with filmy bourrées, and it is a shame that this production didn't give her the second set just to prove that yes, she was moving that quickly.  She was a more vaporous Myrta than the usual strong-minded vengeful queen, but her air of cold mystery created an unusual sense of danger; something that can be felt but not seen is much more frightening that a visible foe.  It was a confident and striking debut.

 

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Four dancers from Pittsburgh Ballet Theatre's school are accepted into the company.

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The dancers who will join the company next season are Jonathan Breight, Yu-Chieh Chao, Colin McCaslin and Caitlyn Mendicino. They’ll join PBT graduates Christian García Campos and Tommie Keston, who were announced as new hires in April. PBT School’s pre-professional program is made up of a mix of regional and out-of-state students; this year, out of 133, 78 were from across the U.S. and 16 were international students.

 

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A CNN interview with Misty Copeland.

 

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And, she insists, being a first in no way erases the ballet world's race problem.

"The ballet world doesn't really celebrate or have women of color," she tells CNN's Poppy Harlow in the latest podcast episode of "Boss Files."

 

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Milwaukee Ballet presents "Swan Lake."

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Milwaukee Ballet’s version includes some significant editing to bring the ballet down from four acts to two, clocking in at a little over two hours. Pink’s rationale is to keep the production at a comfortable length for the audience while emphasizing the strengths of the narrative.

 

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A review of New York City Ballet by Andrew Blackmore-Dobbyn, for Bachtrack.

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The women of New York City Ballet were transcendent in what is arguably Robbins’ greatest work. Dances at a Gathering is probably more written about than any of his other works because of its deep emotional resonance. Nights like this remind you why it is so significant. It was as good a cast as can be fielded with today’s ballerinas and the audience was swept away. Adding to the experience, Cameron Grant was at the piano, playing beautifully. Joaquin de Luz, in Brown, was shaky starting out and was unable to find his legato groove. He loosened up as the ballet progressed and all was forgiven. This was the best overall performance of this ballet I recall seeing.............

 

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A review of the Royal Ballet of Flanders by Cristina de Lucas for Bachtrack.

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Since Sidi Larbi Cherkaoui took charge of the Royal Ballet of Flanders in 2014, the company has been combining a classical repertoire (Cranko, Grigorovich) with programmes of contemporary dance, including old and new choreographers (Pina Bausch, Martha Graham, Maurice Béjart, and Akram Khan, Christian Spuck, Hofesh Shechter...). The triple bill selected for the company’s recent visit to Madrid directly connects with its commitment to contemporary dance, with two pieces by Cherkaoui himself and one by Canadian choreographer Crystal Pite. The programme had an uneven impact on the audience............. The evening ended brilliantly with Faun(2009), a fascinating duet that is fast becoming one of the most enduring pieces in Cherkaoui’s repertory. 

 

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