Thursday, April 7

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Miami City Ballet offers a series of outdoor performances.

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This year, the company is expanding the program and the geography to include new locations in the tri-county area of Palm Beach, Broward and Miami-Dade, with 10 choreographers presenting 11new works. The works range in theme from site-specific inspirations to personal, social and cultural issues.

 

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Saratoga Springs Youth Ballet, founded in 2020, prospers amid challenging circumstances.

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The community support allowed SSYB to stage a complete Nutcracker Ballet production within one year of starting its operations. Eighty-five dancers ages five to 18 years old, eight dancing parents, and three guest artists graced the stage of the Performing Arts Center University at Albany on Dec. 18 for a magical in-person event. 

 

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A review of the Australian Ballet in "Anna Karenina" by Elissa Blake in The Guardian.

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Linnane is a rising star who brings palpable heat to the role. His Vronsky is a young soldier with plenty of snap in his legs and a towering, luminous beauty. His acting isn’t as strong as Hendricks’, who is magnificent in her mad scene, but their dancing together looks effortless. Hendricks makes it clear that Anna knows their love story can never work out. One dance, in which a feverish Anna dreams of having a husband (Adam Bull as Alexei Karenin) and a lover simultaneously, is a highlight of the production.

 

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Adrian Mitchell and Andrea Lassakova talk about their departure from Russia.

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These two elite dancers, one from Los Angeles and one from Slovakia spent the past seven years dancing with the Mikhailovsky Ballet in St. Petersburg. But with both of their families urging them to leave before the war, they began planning their departure.

Still the invasion caught them off guard. Their flight to Budapest was cancelled, leaving them frantic.

 

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 Alejandro Cerrudo becomes the artistic director of Charlotte Ballet.

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Former artistic director Hope Muir left the company last July for a gig at The National Ballet of Canada. Cerrudo will be the Charlotte Ballet’s fifth artistic director since its founding in 1970.

 

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A review of Karole Armitage's "A Pandemic Notebook"  by Leigh Witchel for dancelog.nyc.

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The biggest buzz was for “Time/Times,” two solos and a duet using gorgeous background photography from an upcoming film by Armitage. The draw was that it featured a return to the stage of former New York City Ballet principal Jock Soto, dancing with her. It was set to Bach’s famous chaconne; its familiarity, like Arvo Pärt’s “Spiegel im Spiegel,” boosted the degree of difficulty of making this duet worthy of yet another dance to this score into the stratosphere.