Friday, March 18

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A review of the Hungarian National Ballet in "Mayerling" by Graham Watts for Bachtrack.

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Nicholas Georgiadis’ original set and costume designs were so expertly reproduced in the Hungarian Ballet workshops that they appeared identical to those in use at Covent Garden. And, with very minor exceptions, the same was true of excellent performances throughout the cast. Mayerling requires a large company to field multiple casts of a long list of named characters and this ensemble rose to the challenge with aplomb.

 

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A Ukrainian ballet star dies after being wounded in Kyiv.

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Artyom Datsishin, 43, had been in hospital fighting for life for almost three weeks.

 

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A review of Boston Ballet by Jeffrey Gantz in The Boston Globe.

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“Chaconne” is set to the ballet music from Gluck’s 1762 opera “Orfeo ed Euridice,” in which Orpheus and Eurydice are reunited at the end. The first section, to the “Dance of the Blessed Spirits,” opens in dance Elysium, as nine women in filmy dresses, their hair unbound, swirl in bliss. The principal man and woman then enter, from opposite sides of the stage, like the hunter and the unicorn from the pas de deux of Balanchine’s “Diamonds.” Lisa Hennessy’s flute solo Thursday was sublime; Paulo Arrais and Ji Young Chae, however, weren’t entirely steady and didn’t find the ideal balance between weight and weightlessness in Balanchine’s soft, airy lifts.

 

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San Diego City Ballet presents "Rhapsody in Blue" and Balanchine.

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Resident choreographer and City Ballet co-founder Elizabeth Wistrich said she is looking forward to the premiere of Balanchine’s “Danses Concertantes,” a “tongue-in-cheek” work with an Igor Stravinsky score.

It’s City Ballet’s 20th Balanchine production, with sets and costumes newly purchased from the Kennedy Center.