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Thursday, March 7


dirac

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Reviews of the Royal Ballet in "Swan Lake."

The Times

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There are going to be five productions of Swan Lake in London in 2024, but what better way to start the marathon than with the Royal Ballet’s vivid and heartfelt staging? Liam Scarlett’s outstanding 2018 production, here revived for a run of 30 performances, is beautifully judged, elegantly choreographed, stunningly designed and dramatically rich. Add superlative performances from a first-night cast and you have an evening that will live long in the memory.

The Stage

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Vadim Muntagirov wears the role of the prince like a well-fitting cloak now, and his partnership with Marianela Núñez is electric – he matches her flawless technique beat for beat, but he also knows how to partner her so that she shines. When they meet in Act II, she’s not the skittish, scared Odette we often see – this cursed princess is imperious and angry as she explains the outrage committed against her that has seen her turned into a swan.

CultureWhisper

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No ballet more clearly illustrates the health of a company than Swan Lake, and judging by the opening night of the current run, The Royal Ballet is in rude health, the corps dancing with verve and impressive coordination; soloists grabbing every opportunity to shine and a trio of Royal Ballet principals bringing rousing commitment and artistry to the lead roles: Vadim Muntagirov as the melancholy Prince Siegfried, Marianela Núñez in the dual role of Odette/Odile and Gary Avis as the sorcerer von Rothbart.

 

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An interview with David McAllister in Tatler.
 

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What are some of the most commonly asked questions about ballet that you’ve answered in your book?


Usually after performances, and probably after a few drinks, people get bold and ask you some of those more personal questions. One of the things that people always ask about are jockstraps—the garments that male dancers wear under tights. There’s a myth that ballet boys wear jockstraps to make them look endowed, [which is not the case].

 

 

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A preview of The Seattle Project's new program.

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In 2022, dancer Amanda Morgan became the first Black female soloist in Pacific Northwest Ballet history. Despite that title, Morgan is all about collaboration — so much so that in 2019, she launched The Seattle Project, a network of interdisciplinary creatives drawn together to create new dance works, providing a platform for LGBTQ+ artists and artists of color. 

 

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A review of the National Ballet of Canada by Michael Crabb in The Toronto Star.

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On Wednesday night, for the fourth time on its home stage since the production’s triumphant 2011 Toronto premiere, Canada’s major-league dance troupe revived its multimillion-dollar, gobsmackingly spectacular, action-packed production of “Alice’s Adventures in Wonderland” by British-born A-list choreographer Christopher Wheeldon; a 15-performance run perfectly timed for March break.

 

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Orlando Ballet seeks a new executive director.
 

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As its 50th-anniversary season draws to a close and hot on the heels of its successful debut of a $3.6 million “Nutcracker,” Orlando Ballet is looking for a new executive director.

A statement provided to the Orlando Sentinel this week announced the company would not renew its contract with Cheryl Collins, who has led the organization as executive director since 2020.

 

 

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