Monday, July 18

[dirac]

A review of the Paris Opera Ballet by Laura Cappelle in The Financial Times.

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Tears are expected for a farewell, but at the Paris Opera Ballet they flowed long before the curtain fell. Shortly after her return in ghostly form in Act Two of Giselle, Alice Renavand — a beloved étoile, or principal, whom a legion of artists and balletomanes had come to celebrate — stopped mid-flight and was forced to hobble offstage, in visible pain.

 

[dirac]

A ballet dancer writes about continuing to perform at age 58.

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And yet, while I certainly can’t jump and spin as I used to and have had my fair share of injuries, including a recent torn meniscus in my knee that required surgery, I still spend my days intensely rehearsing and performing. 

And, I have absolutely no intention of giving up.

 

[dirac]

Ballet Jorgen presents "Anne of Green Gables."

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At a cost of a million dollars, “Anne of Green Gables — The Ballet” is the company’s most expensive and ambitious production to date. At full complement the production requires a cast of 30 — the company routinely engages a permanent company of 18 — and even then requires multiple casting and endless costume changes to accommodate all the characters and wild creatures depicted.

 

[dirac]

The United Ukrainian Ballet visits Australia.

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Tickets are now on sale for the first visit to Australia by The United Ukrainian Ballet. The company comprises 50 refugee Ukrainian soloists, ensemble members, creatives and technicians, who are unable to perform in their homeland and fled after the outbreak of the war. The award-winning dancers previously performed with companies across the besieged country, including celebrated houses such as The National Opera of Ukraine in Kyiv, the Kharkiv Opera Theatre and the Odessa Opera and Ballet Theatre.

 

[dirac]

A review of American Ballet Theatre by Mary Cargill for danceviewtimes.

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Royal was an equally natural Romeo, a high-spirited kid who tumbled into adulthood.  He was less dreamy than some Romeos, flashing his infectious grin to endearing effect, and his opening pursuit of Rosalind seemed more like a young boy's curiosity than a poetic dream.  This accent on youth made the ultimate, inevitable ending seem almost unbearably tragic. His dancing was crisp and clear, with controlled turns and spirited jumps.  The balcony scene was danced with an innocent air, without the heavy breathing of the hormonal adolescent approach; it had a haunting radiance.