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Monday, April 8


dirac

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A review of the Ballet of the Teatro dell’Opera di Roma by Ilona Landgraf in her blog, "Landgraf on Dance."

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Unfortunately, the ballet was not perfect. The first few minutes of the first scene’s Feast of Fools made it clear that this production was ill-chosen for this stage. It may have worked well in a medium-sized indoor stage supported by a complete décor, but surrounded by the monumental remnants of the Roman empire, it looked weak and at times ridiculous. The group scenes designed by Petit proved far too simple and repetitive; I was reminded of wooden jumping-jacks marching mechanically in sync. .....

 

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Kate Walsh Honea talks about plans for Colorado Ballet Society.

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For the past 24 years, the Colorado Ballet Society and its pre-professional performing ensemble have been serving aspiring dancers from as young as 2 years old to professionals. The studio has been voted “Best in the Springs” for eight years and has won numerous local awards. Its subsidiaries include the Ballerina Boutique, Elevate Productions, and both the Briargate and Falcon locations.

 

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 A review of the dance offerings at the Edinburgh Fringe by Kelly Apter in The Scotsman.

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Sometimes dance breaks boundaries, sometimes it delves deep into your soul or makes a political statement. Other times, as with Beats on Pointe, it simply impresses, entertains and leaves it at that. Nothing this show has to offer goes beneath the surface, but it’s executed with such fantastic skill, passion and energy that you can’t help falling in love with it.

 

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Roster changes at Pittsburgh Ballet Theatre.

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Ariana Chernyshev, of Pittsburgh, Pennsylvania, will join the company as an apprentice for the 2022-2023 Season. Chernyshev has trained at PBT School from Pre-Ballet all the way through to the graduate program. Pittsburgh native David O'Matz joins Pittsburgh Ballet Theatre as a corps de ballet dancer, previously having danced at Orlando Ballet. Maria Eduarda Pinto of Rio de Janeiro, Brazil also joins the company as an apprentice.

 

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