dirac Posted October 2, 2021 Share Posted October 2, 2021 A review of New York City Ballet by Marina Harss for DanceTabs. Quote The latter, entitled Amaria – which means “for Maria,” and is also an amalgamation of her and her partner’s names – was the centerpiece of the company’s second program, on September 22. Bigonzetti has featured Kowroski in all his works for New York City Ballet, and the two have developed a close rapport. The pas de deux, created via Zoom, is a gift to her. Bigonzetti clearly relishes her movement quality, her melancholy aura, and her impossibly pliant and long limbs. I wish I liked the piece more. Set to two beautiful Scarlatti keyboard sonatas played onstage by Craig Baldwin, it consists of a short suite of solos and convoluted pas de deux in which Kowroski bends and loops her frame in extreme ways, holds a leg up to her face, wraps it around her partner (Amar Ramasar) like a long tail. Ramasar partners her with gentle care, staying mostly in the shadows. Link to comment
dirac Posted October 3, 2021 Author Share Posted October 3, 2021 A review of "In Balanchine's Classroom" by Robert Abele for The Los Angeles Times. Quote That respect for the gift of his training, though, also imbues the documentary with a melancholy at one point when these keepers of his flame admit to the difficulty of continuing that legacy, admitting something is invariably lost. Colored by the individuality of each person’s experience with Balanchine, the humility of recognizing their own failings as satellites without the same level of communication intensity and the simple passing of time, the way these veteran disciples talk about the totality of his significance is invariably bittersweet. “None of us got everything,” is how Merrill Ashley poignantly puts it. Link to comment
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