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Monday, March 14


dirac

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Houston Ballet announces its 2022-23 season.

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Originals planned for June 2-12 shows off a returning original ballet by Welch as well as Principal Dancer Melody Mennite's first full commissioned work for Houston Ballet. And Madame Butterfly, scheduled for June 16-26 and choreographed by Welch, will round out the 2021-22 season.

 

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The Denver Arts Complex is relaxing its COVID-19 protocols.

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Beginning Monday, March 21 upon the conclusion of "The Wizard of Oz," Colorado Ballet patrons will no longer be required to show proof of COVID-19 vaccine, a negative test, or wear a mask while attending Colorado Ballet performances at Ellie Caulkins Opera House.

 

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The Eifman Ballet cancels its Chicago engagement.

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“In light of COVID-19 restrictions for international travel and the current geopolitical climate, the Eifman Ballet is unable to perform in the United States,” said a statement from the Auditorium Theatre, where the troupe was to perform its “Russian Hamlet” May 20-22.

 

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An interview with dancers of the Kyiv City Ballet who are stranded in Paris.

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“Please don’t say we are ‘stuck’ in Paris, because these words should not be put together and besides we are so much more fortunate than the others,” said Kozlova, who is deputy director of the ballet. “Everyone in France has been wonderful. We are being well taken care of so we are the lucky ones.”

 

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A review of Northern Ballet by Teresa Guerreiro for CultureWhisper.

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Casanova's life was marked by constant scandal and you couldn't tell all of it in one ballet. Wisely, the director and choreographer of Northern Ballet's Casanova, Kenneth Tindall, didn't try. Instead, he decided to concentrate on three women who, judging from Casanova's own memoirs, were particularly important in his life, and they provide meaty roles for some of Northern Ballet's leading women dancers.

 

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A review of Australian Ballet by Ilona Landgraf in her blog, "Landgraf on Dance."

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Possokhov’s strength is his ability to create his figures through distinct steps. Unlike quite a few of his colleagues, he doesn’t have a signature choreographic handwriting that ultimately leads all the characters to move in the same style. Instead, his choreographic language is inventive, fresh, and intense. The odd movements performed by Karenin (Adam Bull) while he waits at the train station, for example, speak volumes about his stern rigidity. Natural physicality, let alone sensuality, is foreign to him – a heritage, that he successfully passes on his son Seryozha (Lukas Elliott). Anna (Robyn Hendricks), by comparison, thirsts for emotionality and passion, evident in the steamy first-night pas de deux with Vronsky (Callum Linnane, who was promoted to principal after the opening night of “Anna Karenina”).

 

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