Thursday, February 10

[dirac]

A review of Washington Ballet in "Swan Lake" by Sarah L. Kaufman in The Washington Post.

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Intimate, that is, until the two leading dancers take over. The sensational pairing of Eun Won Lee as Odette/Odile and Gian Carlo Perez as Prince Siegfried lifted the ballet to dazzling heights. (Performances continue through Sunday with alternating casts.) Both dancers are powerhouses — Perez with a soaring jump and majestic line of the legs, and Lee with her unwavering balance and strength. Whirling through her whipping fouetté turns as the predatory Odile in the third act, could she have kept spinning till spring? I imagine so, and she’d keep poor besotted Siegfried in her clutches all the while, and us.

 

[dirac]

Aspen Santa Fe Ballet presents a performance by Complexions Contemporary Ballet.

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Aspen Santa Fe Ballet will host a performance by the New York City-based Complexions Contemporary Ballet next month, marking the locally based nonprofit’s first presentation since early 2020 and its first dance event since dissolving its own Aspen-based company a year ago.

 

[dirac]

A review of New York City Ballet by Faye Arthurs for the Fjord Review.

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Roberts’s choreography proclaimed that everything was rosy too. Beautiful Unity Phelan ran confidently onto the stage and strutted down the center line before commencing a pretty, pointework-dense solo. She both picked out and skated over Wayne Shorter’s jazzy lines. Roberts set “Emanon” to two movements from Shorter’s jazz album of the same name, “Prometheus Unbound” and “Pegasus.” Ballet and jazz music are not frequent bedfellows, but jazz dance movements are often employed in ballet choreography—especially at City Ballet, the home of “Rubies” and “Agon.” So it was surprising again that Roberts’s “Emanon” was so properly balletic. I noted several passages that echoed one of Balanchine’s most classical works: “Allegro Brillante.” At one point, Indiana Woodward did a split jump sequence straight from “Stars and Stripes.”