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Tuesday, December 7


dirac

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A review of the Paris Opera Ballet by Laura Cappelle in The Financial Times.

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Most fascinating is Brun’s attention to the then-shocking posture Nijinsky demanded of ballet dancers. While the Hodson/Archer production has looked somewhat amorphous in recent years, the 36 Paris dancers committed to the hunched-over, turned-in positions with striking force. The group of maidens looked convincingly crushed by the weight of the ritual, including appeals to forces above and, at one point, an audible cry.

 

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An appreciation of Ronn Guidi by Andrew Gilbert in The San Jose Mercury News.

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Against all odds, he turned Oakland into a ballet outpost that reconfigured the artform’s relationship to part of its glamorous past. Along the way, Oakland Ballet, the company he founded in 1965, became a proving ground for dancers who went on to thrive in the illustrious environs of New York City Ballet, Dance Theatre of Harlem, Joffrey Ballet, American Ballet Theatre, and San Francisco Ballet.

 

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An interview with Marianela Núñez.

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“There is so much to learn. I am definitely getting more curious about these classical works, these styles, but also about me, how I approach these famous roles. Every rehearsal is seriously a journey. I still ask how can I push that, so that each performance is a work in progress. I still have a huge chance to achieve, to get better.”

 

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