Tuesday, May 17

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Ballet Arkansas announces its 2022-23 season.

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After five veteran dancers took their final bows at Live at the Plaza, seven more are poised to join Ballet Arkansas: Sage Feldges, Celeste Lopez-Keranen, Andrew Przybylowicz, Keith Newman, David J. Cummings, Layla Terrell and Andrew Parson.

 

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A Harper's Bazaar piece featuring the stars of the Royal Ballet's "Like Water for Chocolate."

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Not, therefore, an intuitive choice for transforming into a ballet. "We’re still work shopping a lot of these ideas," says the choreographer Christopher Wheeldon when we catch up the day after the shoot. "It’s challenging, for sure, but I enjoy that. It’s not a straightforward boy meets girl, girl turns into swan, swan falls in love with prince thing..."

 

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Louisville Ballet announces the schedule for its seventy-first season.

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The upcoming season will first feature classical ballets with local spins — a production of “Coppélia,” set in Louisville’s historic Germantown, “Celebrating Alun,” a work honoring the company’s former artistic director Alun Jones and the holiday’s “Brown-Forman Nutcracker”.

 

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A festival will open San Francisco Ballet's 2023 season.

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Tomasson designed most of the season before stepping down earlier this month after nearly 40 years at the company’s helm, said Executive Director Danielle St.Germain. But she said Tamara Rojo, who begins the role on Dec. 12, was closely consulted throughout the planning process.

 

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Jill Biden visits students at Washington Ballet's school.

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At the event, The Washington Ballet announced its renewed commitment to supporting young people from all backgrounds in pursuing ballet study. The company will award more than $300,000 in scholarships each year to students who otherwise would not be able to afford ballet study, with an emphasis on people traditionally underrepresented in ballet, such as people of color and young men.

 

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A review of Miami City Ballet by Sean Erwin for the Sun Sentinel.

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However, “The Source” suffered from some weaknesses, including an overly simplified dance vocabulary and the randomness of certain scenic and video elements. For example, it wasn’t clear why the action opened and closed at a port or what the significance was of the repeated sun images. Such ambiguities distracted from the work’s straightforward message.

 

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A review of New York City Ballet by Leigh Witchel for dancelog.nyc.

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The worked massed to a full cast that moved into and out of the wings, then a slow reverence. That wasn’t the end, though. It kept going, trios, and then packed again before the actual slowly revolving finale. Farley is still quite young, and has had a career that has moved almost as fast as the speed of his ambition. He could use Balanchine’s “Apollo Moment.” The simplest sections, where you could see what he was doing, were the best.

 

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A preview of Houston Ballet's season finale.

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It's the first of three productions — scheduled one right after the other in May and June — that Houston Ballet is presenting to close out its 2021-22 season in power-packed fashion with premieres and audience favorites alike. And it gives the whole complement of Houston Ballet dancers the chance to show off their talents.
 

 

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An interview with Georgina Pazcoguin in Jezebel.

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With its original premiere in Paris and its City Ballet premiere in 1951, “Apollo” is the oldest Balanchine ballet in City Ballet’s repertory. The ballet tells the story of Apollo as a young god on a search for adulthood, as guided by the muses of mime, poetry, and dance. Principal dancer Tiler Peck, who has danced the role of Terpsichore (the muse of dance), has mentioned that her muse’s solo is quite difficult to perform: It doesn’t have any “firework moments.” For Polyhymnia, the muse of mime and one of the most renowned roles for women in this ballet, however, the “firework moment” appears to be Pazcoguin’s casting itself: She’s now the first company AAPI soloist to dance the role of this particular muse in City Ballet history.