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Saturday, February 22


dirac

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A review of the Shanghai Ballet in "Swan Lake" by Eric Taub for DanceTabs.

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I’d say that Wu was the cherry on this particular performance’s sundae, but that would be neglecting the Shanghai Ballet’s superb corps, strong and with unity of step and style. As swans (48!), they’re a monumental white organism, less ostentatious in their perfection than certain Russian and French companies I might mention, and all the better for it. Their national dances had the speed and precision of drill teams, fun ones. Wu’s Odette/Odile, Qi Bingxue, was beautiful, short of torso and with long and supple limbs, yet seemed dramatically distant from Wu. More on these in a bit.

 

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A review of "The Cellist" by Will Gompertz for BBC News.

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He then lifts her and pirouettes as she maintains a seated playing position, which I must admit, is less beautiful and took my mind back to Duchamp and lavatories. No matter, it is one of very few awkward moments in a piece full of newly found positions, which races through Du Pré's life in 60 minutes.

 

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A review of Washington Ballet by George Jackson for danceviewtimes.

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It is a fun program, the Balanchine and Ashton (and Kent) quintuple bill that The Washington Ballet is flaunting this February week. An audience that seemed to fill the theater enjoyed itself from start to stop – especially the stop: Balanchine’s “Slaughter”, which isn’t one of his sublime masterpieces. I’ve seen many performances of it but never a better one. It is a “character” ballet with the gals not on toe but in heeled shoes and the only academic danseur a comic lampoon. Yet this choreography as danced on Thursday night revealed the classic steps and stances that are at the core of all the shimmying and shaking and hoofing by Sona Kharatian as the striptease girl, Daniel Roberge as the tap dancer, their cronies and combatants. Whatever else artistically and commercially these five dance pieces achieved, there was satisfaction!

 

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