Wednesday, October 13

[dirac]

The Boston Ballet launches a free online content platform.

Quote

The company also hopes ÜNI will broaden the appeal of ballet and attract new audiences. Not just those stymied by cost and location, but younger viewers and people who never considered the art form as an engaging form of entertainment and enrichment.

 

[dirac]

A TV feature previewing the Joffrey Ballet's new program.

Quote

The Joffrey returns in “Home: A Celebration,” as it welcomes back company dancers and instructors, it’s also welcoming choreographers, including Chanel DaSilva. As one of Joffrey’s 2020 Winning Works choreographers, the New York based artist is back with a dance interpretation and reimagining of the old Negro Spiritual, “Swing Low, Sweet Chariot,” accompanied by Zoe Keating. 

 

[dirac]

A TV news segment on Grand Rapids Ballet's return to the stage.

Quote

We're seeing live stage performances slowly returning as all of us manage our way through a new normal way of life.

The Grand Rapids Ballet has a rich history of tradition and they're observing a big milestone this year. Dancers are set to hit the stage as the ballet company celebrates it's mission and passion that started 50 years ago.

 

[dirac]

San Francisco Ballet returns to the great indoors with "The Nutcracker."

Quote

It also marks the company’s return to live indoor performances after the abrupt cancellation of “A Midsummer Night’s Dream” in March 2020 after a single performance made it the first U.S. cultural organization to go dark in the face of the pandemic. The Ballet has since only performed outdoors for audiences during the pandemic during a stint at Frost Amphitheater for “Starry Nights.”

 

[dirac]

A look at the making of the Royal Ballet's "The Dante Project," by Roslyn Sulcas in The New York Times.

Quote

The idea of making a ballet of “The Divine Comedy” came from Adès, whom McGregor approached in 2014, after using his music for two dance works. “I want a massive piece, three acts,” McGregor told him. In a telephone interview from Paris, Adès said he was immediately intrigued. “The great thing that Wayne offered me was a large amount of time, which is more usual for opera commissions than ballet,” he said. After “batting around” various ideas, Adès thought of “The Divine Comedy.”