dirac Posted October 2, 2022 Share Posted October 2, 2022 A review of State Ballet Berlin in "Giselle" by Ilona Landgraf in her blog, "Landgraf on Dance." Quote Albrecht and Giselle’s romance, unfolding under the warm autumn sun shining on mother Berthe’s quaint cottage yard (set and costumes by Peter Farmer), was not as sweet as expected. In Moscow, Motta Soares had danced Albrecht in Yuri Grigorovich’s “Giselle”. Bart’s version was new for him and his Albrecht here – cocksure and confident – flitted between gentle wooing and impatient attempts at taking. In certain moments he stood with his arms crossed, signaling reserve. After two botched tours en l’air, Motta Soares seemed slightly unsettled. Though he made a decent showing by the end of his second solo (Pas de vendanges), its piecemeal choreography – involving a great deal of jumping back and forth, as if drunk on infatuation and indecisive about which direction to move – offered little chance to shine. Link to comment
dirac Posted October 2, 2022 Author Share Posted October 2, 2022 Washington Ballet performs at Wolf Trap. Quote When we heard the first few notes of Tchaikovsky’s familiar score, a gasp filled the amphitheater. This “Serenade” was a most exquisite production—one of the best ever viewed. A standout was Maki Onuki with her fleeting footwork and unique lovlieness in the mysterious pas de deux. The original lighting design by Jean Rosenthal was perfectly adapted by Elizabeth A. Coco, as the dancers were bathed in a glow,” reminiscent of Russsia’s Golden Age of Ballet. “Serenade” was the first full-length ballet Balanchine created in America and it was first danced by his students at the School of American Ballet in 1934. He dismissed story ballets and was quoted as saying, “I want to see the music and hear the dancing.” Link to comment
Recommended Posts