Wednesday, June 30

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American Ballet Theatre holds a master class in Lincoln, Nebraska.

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The master class was the first in-person one held at the Lied Center since the start of the pandemic. For many of the student dancers selected to take this class with a trained professional, they told 10/11 it was a dream come true.

 

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A review of the Royal Ballet by Jann Parry for DanceTabs.

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At the centre of the programme come five contrasting duets in quick succession, starting with Wayne McGregor’s Morgen, created for the first onstage concert livestreamed in June last year. It’s a strange courtship for a semi-naked man (César Corrales) and a petite ballerina in an orange shift (Francesca Hayward). Richard Strauss’s setting of a tender poem, intended as a wedding present for his wife, is poignantly sung by Sarah-Jane Lewis, with Vasko Vassiliev as the solo violinist. Corrales undulates around lonesome Hayward, longing to touch her until he can lift and drape her across his shoulders. They end in an embrace on the floor, envied by viewers forbidden to hug their loved ones.

 

[dirac]

A review of the Royal by Joy Sable in The Jewish Chronicle.

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The Beauty Mixed Programme at the Royal Opera House begins with Anemoi, a new work created by one of the company’s dancers, Valentino Zucchetti. Anemoi were the Greek gods of the winds, and the ballet certainly has a breezy feel about it, with fast entrances and exits, explosive leaps for the men and sharp footwork for the women. There are moments of particular beauty: dancers are silhouetted against a lit backdrop, and a lovely adage contains original lifts. There is a general feeling of optimism, and this ballet, danced by some of the younger members of the company, definitely gives cause for hope. Zucchetti is a name to watch, and I look forward to seeing more of his choreography.