Monday, September 26

[dirac]

A review of American Repertory Ballet by Robert Johnson for NJ.Arts.net.

Quote

An opener guaranteed to impress, “Hindsight” is a powerhouse ensemble piece showcasing this company’s teamwork and go-for-broke energy. Clearly the dancers were inspired by the presence in the pit of composer Ian Howells on piano, and cellist Paul Vanderwaal. The music’s striking chords and jaunty themes alternated with tender passages to create a variable and dramatic soundscape.

 

[dirac]

A review of Rupert Christiansen's "Diaghilev's Empire" by Louise Levene in The Financial Times.

https://www.ft.com/content/6f49db7e-7027-4838-8209-2e9d1951d4df
 

Quote

Rupert Christiansen, a ballet and opera writer of more than 25 years’ standing, surveys the company’s repertoire with a critic’s eye, placing the work in its social and artistic context and reminding us of its enduring legacy. His account is peppered with memories, anecdotes and bons mots from the massive cast of artists, musicians and writers drawn into Diaghilev’s orbit — Alexandre Benois, Harry Kessler, Jean Cocteau, Lydia Lopokova — giving his text a deliciously conversational tone and allowing us to eavesdrop on one of the most creative episodes in the history of the arts.

 

[dirac]

A review of Pacific Northwest Ballet by Marcie Sillman in The Seattle Times.

Quote

“Wartime Elegy” is Ratmansky’s first new ballet since that war began. Although the choreographer is a vocal opponent of Putin’s invasion, this work is not overtly political. Instead, the tender dance, performed to both Ukrainian composer Valentin Silvestrov’s haunting music for piano and strings, and sprightly traditional folk music, is a love letter to the Ukrainian people — a tribute to the joy they find in their distinct culture, to their resilient strength and to their hope for a peaceful future.

 

[dirac]

A review of New York City Ballet by Mary Cargill for danceviewtimes.

Quote

Chan was a late substitute for the taller Peter Walker, and on pointe LaFreniere is about a head taller than he which gave the pas de deux an air of a friendly conversation rather than a love story.  The man spends a lot of time admiring the ballerina from the far side of the stag, rushing in now and then to catch her in mid turn, and the partnering went smoothly if a bit carefully.  Chan, recently imported from the Houston Ballet and even more recently promoted to principal, is a generous partner with a soft, elegant upper body, a rich, juicy plié, and joyous beats--after his first solo he really should have been crowned Mr. Bluebird.