dirac Posted October 10, 2022 Share Posted October 10, 2022 A review of Ballet Zurich by Ilona Landgraf in her blog, "Landgraf on Dance." Quote While many companies revive earlier ballets to warm up for a new season, the Ballet Zurich offered a premiere right away. The new one-act piece – “Nachtträume” – is Marcos Morau’s first creation for the company. The Spanish-born Morau has never danced professionally, but studied choreography, photography, dramaturgy and theory of the drama and runs the Barcelona-based company “La Veronal”. Hidden desires, dark fantasies, and – above all – themes of power and subordination make up the fabric of Morau’s gloomy dreams..... Link to comment
dirac Posted October 10, 2022 Author Share Posted October 10, 2022 Ballet San Antonio rehearses "Cinderella." Quote The company is reinventing the magical story of the girl mistreated by her evil stepsisters. Link to comment
dirac Posted October 10, 2022 Author Share Posted October 10, 2022 The Royal New Zealand Ballet embarks on its biennial "Tutus on Tour" travels. Quote It was the season that acknowledged the company’s pioneering roots when dancers doubled as stage crew and were billeted by generous Kiwi hosts around the country. A certain magic is created when the RNZB performs in small local venues, offering exchange and connection with the audience that is a true reflection of their status as a national company. Link to comment
dirac Posted October 10, 2022 Author Share Posted October 10, 2022 A review of Boston Ballet by Jed Gottlieb in The Boston Herald. Quote Stephen Galloway’s “DEVIL’S/eye” uses five Rolling Stones songs to create a steamy, electric tribute to the band’s music and modern dance. Galloway, a former principal dancer for Ballet Frankfurt, has worked with the Stones for years as a creative consultant. With “DEVIL’S/eye,” he brings an unhinged joy, a madcap freedom, to the art. He sells his piece through both the raw (a little hip sway or swaggering walk) and dazzlingly complex — two dozen dancers swinging between discord and harmony for 20 minutes. Link to comment
dirac Posted October 10, 2022 Author Share Posted October 10, 2022 Michael Fothergill talks about Ballet Arkansas' new season. Quote Building off the success of past multimedia presentations like "The Legend of Sleepy Hollow," the ballet is bringing another skin-crawling experience to the stage just in time for Halloween. They’re kicking off their season with their interpretation of Bram Stoker’s classic novel "Dracula," choreographed by Ballet Arkansas’ own executive and artistic director Michael Fothergill. Link to comment
dirac Posted October 10, 2022 Author Share Posted October 10, 2022 A review of the Royal Ballet by Joy Sable in The Jewish Chronicle. Quote As Mary Vetsera, Natalia Osipova was flirtatious and wonderfully girlish at the start before she unlocked her passionate nature in the complex and erotic pas de deux with Hirano. These dances were the highlight of the evening; jumps soared, lifts verged on the dangerous. It was breathtakingly beautiful and reckless at the same time. Link to comment
dirac Posted October 16, 2022 Author Share Posted October 16, 2022 A review of New York City Ballet by Ivy Lin for Bachtrack. Quote I’ll never complain about seeing Violin Concerto or DSCH. Both are classics that bear repeated viewing. On the other hand, Justin Peck’s Everywhere We Go checks off several boxes of Justin Peck ballet pitfalls. Too long? Check. (The 40-minute ballet has about three fake endings before it actually ends.) Bombastic, unappealing Sufjan Stevens commissioned score? Check. Endless, frenetic series of group formations so one doesn’t know where to look? Check. Link to comment
Recommended Posts