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Wednesday, June 8


dirac

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A review of the Royal Ballet in "Like Water for Chocolate" by Fátima Nollén for The Tablet.

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On paper, transferring Like Water for Chocolate (Royal Opera House, to June 17) felt ambitious. But the creative team behind this three-act ballet – a co-production with American Ballet Theatre, with choreography by Christopher Wheeldon – achieves what seemed impossible: a beautiful translation to the stage. It is a fast-paced, well-transitioned succession of 13 scenes, supported by a score reminiscent of a historical Mexico. By turns melancholic, epic and magical, it pairs native instruments (ocarina, huehuetl, harps and percussion) with local dances (sones, danzón, joropos/cumbia).
 

 

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Atlanta Ballet announces the lineup for its 2022-23 season.

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After two seasons characterized by ballets created by company dancers, the ensemble is returning to a line-up of works from internationally known choreographers such as George Balanchine, Justin Peck, Yuri Possokhov, Helgi Tomasson, Remi Wörtmeyer (a dancer-choreographer with Dutch National Ballet) and British dancemaker Cathy Marston, along with resident choreographer Claudia Schreier.

 

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A review of the School of American Ballet's workshop performance by Mary Cargill for danceviewtimes.

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"A Suite for Kay" was a salute to Kay Mazzo who is retiring as the faculty chair.  The dances, all classical Balanchine solos from "The Nutcracker", "La Source", "Cortège Hongrois", and "Raymonda Variations", were danced in groups of six or seven (a total of 21 women and six men) and showed off the impressive quality of the dancers she had helped train.  This format, though, with groups performing solos as an ensemble, did not allow individual phrasing or nuance since the steps had to be danced with complete uniformity, and the performances had a tinge of a studio rehearsal.  Of course six or seven individual performances would reek of a ballet competition, and the absence of any elbow-pushing flamboyance had it own distinctive  charm.

 

 

 

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