Friday, November 19

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A review of the National Ballet of Canada by Denise Sum for danceviewtimes.

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After thunderous and enthusiastic anticipatory applause, the curtain of the Four Seasons Centre, emblazoned with the words “Welcome Back”, rose on the iconic opening tableau of “Serenade”. With the powerful first strains of Tchaikovsky’s music, Ronald Bates’ moody lighting and dancers with arms outstretched gazing upwards to the moonlight, there was a collective emotional exhale from artists and audience alike. This long-awaited moment that at times felt so out of reach had finally arrived. The corps de ballet moved and breathed in unison with equal parts serentiy and excitement. Their port de bras were exquisite, telling a story with the simplest of gestures. 

 

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A review of the Paris Opera Ballet in "Le Rouge et Le Noir" by Leigh Witchel for dancelog.nyc.

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The ballet’s group dances felt retro, but so do the pas de deux – not in a bad way. You could sense Lacotte looking to MacMillan and Cranko; the pas de deux between the de Rênals, which is portrayed as a happy marriage, recalled Cranko’s duet for Tatiana and Prince Gremin. There were many times “Le Rouge et Le Noir” recalled “Onegin,” except that Lacotte is far more interested in group numbers than either Cranko or MacMillan, who anchored their narrative works with long duets.

 

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The Australian Ballet's production of Nureyev's "Don Quixote" is released on Blu-ray.

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Filmed in Melbourne with the Australian Ballet in 1973, the cast includes Nureyev as Basilio, Sir Robert Helpmann as the deluded knight and Lucette Aldous as Kitri. 

 

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A review of Pacific Northwest Ballet by Sondra Forsyth for Broadway World.

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Because the Pacific Northwest Ballet is an eminently versatile company with dancers equally adept at classical ballet and contemporary styles, the Rep 2 title "Beyond Ballet" led me to expect to see strictly contemporary choreography. What a wonderful surprise to find instead that this triple bill by three choreographers -- all with worldwide acclaim -- served up superlative dancing that not only shows off the dancers' impeccable ballet technique, including fouettés on pointe for the ladies and multiple pirouettes for the gentlemen, but also offers decidedly satisfying non-balletic moves created in the unique voices of the dancemakers. (A minor quibble: I must admit that I would have chosen "Ballet and Beyond" as a more accurate and enticing title.)

 

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Dancers of Pacific Northwest Ballet share their Nutcracker memories.

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Noelani Pantastico (18 years at PNB): My first was a really small ballet school. I auditioned, it was a cattle call for a bunch of young kids. I got the role of Clara, and that’s kind of how I got sucked in. That was at Ballet New England. I was 9, 10 years old. 

 

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A review of "Twyla Now" by Robert Greskovic in The Wall Street Journal.

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The mix, with live and lively musical accompaniment from the Knights, an orchestral collective, makes for a compelling program that peaks just before the intermission; what follows after the break is an engaging if at times miscellaneous-seeming display for all the dancers. Some of the works are adjusted restagings of previous dances, while the new ones include choreographic quotes from Ms. Tharp’s past efforts. Tharp fans and newcomers alike should find plenty to intrigue and entertain them.

 

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A listing of local Nutcrackers in The Indianapolis Star.

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"The Nutcracker" is one of the most beloved of Christmas stories, and Indianapolis has plenty of versions — classic or with a twist — for you to enjoy.