dirac Posted February 25 Share Posted February 25 A review of San Francisco Ballet's "Swan Lake" by Rachel Howard in The San Francisco Chronicle. Quote Raised in her native Sweden, Fogo was hired away from the Vienna State Opera Ballet by Tomasson in 2020, at the height of the pandemic. She made a spectacular debut as the “Nutcracker’s” Sugar Plum Fairy in 2021 but then suffered an injury that kept her out the whole of 2022. Last year, under current artistic director Tamara Rojo, Fogo danced a few choice assignments (including a debut in “Romeo and Juliet”) but wasn’t as prominent in the casting as her gifts would seem to merit. Her first “Swan Lake,” then, felt like an arrival and a crowning. It was defined by two elements: her arms and her freedom. Related. Quote Nikisha Fogo's path to the stage of the San Francisco Ballet as the Swan Queen in 'Swan Lake' is a testament to her resilience and dedication to her craft. Transitioning from the Vienna State Opera Ballet, where she honed her skills and artistry, Fogo faced significant challenges. A severe injury sidelined her for an entire year, a period fraught with uncertainty and the painstaking work of rehabilitation. Despite these obstacles, Fogo returned to the stage with a performance that not only highlighted her technical mastery but also her deep emotional connection to the characters of Odette and Odile. Her use of expressive movement and the nuanced portrayal of these complex roles captivated the audience, earning her acclaim for her artistry and technical skill. Link to comment
dirac Posted February 25 Author Share Posted February 25 An interview with Robert Garland by Gia Kourlas in The New York Times. Quote Garland said he planned to build on Balanchine’s legacy with the company; staging “Pas de Dix” (1955) is a step. Along with the dance itself, set to excerpts from Glazunov’s “Raymonda” — it is classical ballet with Hungarian inflections — Garland wanted to celebrate the Native American ballerina Maria Tallchief, its original female lead. “When you watch a video of Maria Tallchief, she was no joke,” Garland said. “Mr. Mitchell loved her, loved her.” Link to comment
dirac Posted February 25 Author Share Posted February 25 A review of Ballet Nights at Lanterns Studio Theatre by Chris Omaweng for LondonTheatre1. Quote Continuing to push boundaries and take risks, the latest instalment of the Ballet Nights series is highly eclectic, thus more or less ensuring there is at least something for almost everyone to enjoy. Focusing on solo and duet performances, it’s a bit of a rollercoaster ride, with plenty to upset ballet purists, which this concept seems to revel in. For instance, the show has sufficient pulling power to draw in principals from the Royal Ballet, though their dances are performed to backing tracks rather than live musicians. This simply is a trade-off that must be accepted, with the audience being able to see, even from the back row, dances performed up close. Link to comment
dirac Posted February 25 Author Share Posted February 25 A review of American Ballet Theatre by Michela Dwyer for Broadway World. Quote Finally, the presence of Isabella Boylston, who danced Odette/Odile, cannot be understated. In the way I desire when I watch the best ballets, she simply floated over the stage with the most beautiful slowness and ease. She is the classical princess of our dreams. Link to comment
dirac Posted February 26 Author Share Posted February 26 Darcey Bussell coaches the dancers of the Birmingham Royal Ballet in "The Sleeping Beauty." Quote Darcey began her professional dancing career in 1987 under the directorship of Sir Peter at Sadler’s Wells Royal Ballet, which became Birmingham Royal Ballet in 1990. By the time SWRB and Sir Peter moved to Birmingham, Darcey had moved to the Royal Ballet based at Covent Garden, but she has fond memories of working with Sir Peter. “He has this extraordinary energy still and his enthusiasm for the art flows through him. I was lucky to have him as a director. It was just for one year but it was a very informative year as I had just left school and was in my first year with the company...." Link to comment
dirac Posted February 27 Author Share Posted February 27 A review of Queensland Ballet by Ruth Ridgway for Bachtrack. Quote In between two Brisbane seasons in February and March, the program becomes Queensland Ballet on Tour, travelling to four regional centres in south-east Queensland. This short program of highlights is ideally suited for ease of touring, with no sets and with recorded music, and offers variety for the audience. Link to comment
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