Jump to content
dirac

Tuesday, June 5

Recommended Posts

A review of American Ballet Theatre's new Harlequinade by Brian Seibert in The New York Times.

Quote

Alexei Ratmansky has a different problem. He is in love with old ballets, especially in their original form, insofar as that original form can be reconstructed after decades of neglect and alteration. Lucky for him, he is one of the world’s most sought-after choreographers and the artist in residence at American Ballet Theater. If he wants to rescue an antique ballet from the archives — say, “Les Millions d’Arlequin,” a 1900 work by Marius Petipa, the foremost choreographer of 19th-century Russian ballet — money appears. This money, however, doesn’t exactly solve the problem.

A preview of "Harlequinade" by Mario S. Mercado for Playbill.

Quote

Designer Robert Perdziola’s production for Harlequinade evokes the opulence of the Imperial Ballet. In addition to décor, Perdziola has created nearly 100 designs—a corps de ballet of Larks and Muscadins, 34 children as petit Harlequins, Polichinelles and Pierrettes—which total more than than 250 costumes. He began work by studying the original production’s sets and costumes, preserved in the St. Petersburg State Museum of Theater and Music. Perdziola says, “There was a bulk of information to digest. And the other angle was a celebration of commedia dell’arte, which I had considered in previous work, plays, operas and ballet, throughout my career.”

 

Share this post


Link to post

Kirill Serebrennikov wins at the Prix Benois for his Nureyev ballet.

Quote

Serebrennikov was not present at the ceremony, at Moscow’s Bolshoi Theatre. The ballet’s composer, Ilya Demutsky, accepted the statuette on his behalf and told the audience: “We will pass it on to him.”

 

Share this post


Link to post

A review of Pacific Northwest Ballet by Rich Smith in The Stranger.

Quote

As I mentioned two years ago, Beethoven's Appassionata, choreographed by Benjamin Millepied (the guy who did Black Swan), is about colors having sex with each other. For this performance, Elizabeth Murphy and Karel Cruz reprised their roles in the pas de deux, and they haven't lost a step. The production is as good as it ever was, and there's not much else to say except that Murphy is the only person I ever want to see dance the pas de deux in this piece. After a colorful display of partner trading in the first act, Murphy and Cruz take the stage wearing all white. The two project pure bliss, as if they were on a very successful honeymoon, but Murphy's character seems especially wild with ebullient love-feelings for her partner....... 

 

Share this post


Link to post

A review of New York City Ballet by Gay Morris for danceviewtimes.

Quote

Saturday afternoon’s performance featured debuts for Erica Pereira and Anthony Huxley in the leading roles. The ballet ultimately belongs to Swanilda, and Pereira was more than ready for the challenge. She is a soloist in the company and is usually capable and charming while not making a vivid impression. Here, though, she excelled in every aspect of the role. Her acting was comic when it should have been, but was never exaggerated. She was by turns angry, mischievous, and touching. In her dancing, she reached an altogether new level, blazing her way through every difficulty, and there are many in this choreography. Her technique was as crystalline as a spring day and she danced with a musicality that was marked by subtle and exciting phrasing.

 

Share this post


Link to post
  • Recently Browsing   0 members

    No registered users viewing this page.

×