dirac Posted March 10 Share Posted March 10 Reviews of the Royal Ballet in "Swan Lake." The Jewish Chronicle Quote Luca Acri almost stole the show as Siegfried’s friend Benno — he lights up the stage with his dancing — while time and again my eye was drawn to Valentino Zucchetti in the Act I waltz and the Act III Czardas. He is making a name for himself as a fine choreographer, but he is a lovely dancer too. Broadway World Quote The Act III ballroom scene is where things really “pop” after the slightly plodding country dances, safe for a lung bursting Neopolitan from Madison Bailey and Taisuke Nakao, we’re in gala territory with the sheer showboating of Nuñez’s Black Swan. Demeanour shifted from the pureness of Odette, her Odile is angular, spiky and smirking, she runs rings around Siegfried with it all culminating in the pas de deux for which the applause is frequent and spontaneous. Her fouettes fly without a hint of bother, and Muntagirov’s soundless landings, suspended jumps and neat unassuming landings are showcased in fine style too. It’s a cliche but the pace, fire and technical perfection of them is breathtaking. The Arts Desk Quote Within the framework of every new production of Swan Lake (and few audience members will be aware how little of the original 1877 choreography survives) there is a certain amount of dramatic leeway for the two leading dancers. Marianela Nuñez and Vadim Muntagirov have long experience both as stage partners and with this ballet, which might make on think they could do it in their sleep. Not a bit of it. These two seem to review their interpretation afresh on each revival. Nunez’ Swan Queen, on opening night, was no timid, trembling thing. She was angry, and fierce with it. You will not shoot me with your crossbow, nor will you harm a feather of my companions!, her movements say on first meeting the Prince. Link to comment
dirac Posted March 10 Author Share Posted March 10 A review of New York City Ballet and the Royal Ballet by Louise Levene in The Financial Times. Quote The latest revival of Liam Scarlett’s 2018 Swan Lake opened on Wednesday. The production has its weaknesses, but John Macfarlane’s sumptuous costumes and easel-worthy sets are a joy in themselves and Royal Ballet director Kevin O’Hare has made sure of a five-star review with a smartly drilled corps of swans and a thoroughbred opening cast. Link to comment
dirac Posted March 10 Author Share Posted March 10 Natalie Portman and Benjamin Millepied call it a day after 11 years of marriage. Quote The actress, 42, filed last July and the divorce was finalized last month in France, where Portman and Millepied, 46, live with their children, son Aleph, 12, and daughter Amalia, 7. Link to comment
dirac Posted March 10 Author Share Posted March 10 Reviews of New York City Ballet's London program. The Guardian Quote Choreographers love the music of British producer James Blake. William Forsythe made a series of works to Blake’s tracks, and now Kyle Abraham has made Love Letter (on shuffle). Like Forsythe, Abraham counters the angsty electronica by leaning in to the precision of classical form and academic steps – brisé, sissonne, pas de chat, three girls linking arms like Swan Lake’s cygnets. But then he’ll break the line, send a ripple all the way through the torso, add jolting isolations, fold in a hip-hop stance, in a way that thoroughly makes sense. Principal dancer Taylor Stanley is a natural conduit for Abraham’s style in arresting solos and a cool but charged pas de deux with Jules Mabie. This is what ballet looks like now. The Independent Quote Back in London for the first time since 2008, New York City Ballet is in joyful form, forward-thinking and sizzling with energy. This programme is dominated by new works and fresh approaches. Speed, athleticism, and musicality are still company hallmarks, but they’re taking them into new territory. The Times Quote For its first visit to London in 16 years New York City Ballet has brought a mixed programme that instead of looking back to its illustrious past — the extraordinary legacy ballets of its founder George Balanchine — looks forward, towards the future of American choreography. What you expect your New York City Ballet to be, then or now, will determine how you feel about the show. Link to comment
dirac Posted March 10 Author Share Posted March 10 An appraisal of New York City Ballet's winter season by Gia Kourlas in The New York Times. Quote For a company to unveil a decent new ballet is a strange and marvelous occurrence. To unveil two in one season? This is fantasy territory. Quality choreography that celebrates classicism, that highlights musicality — that even pushes the form into new realms — isn’t the norm. But at New York City Ballet this season, two premieres were worthy of many more viewings — and in the case of Alexei Ratmansky’s harrowing “Solitude,” set to Mahler, endless ones. Link to comment
dirac Posted March 10 Author Share Posted March 10 A review of NYCB by Marianka Swain in The Daily Telegraph. Quote On this flying visit, a quartet of pieces – one Balanchine classic, plus contributions by Justin Peck, Pam Tanowitz and Kyle Abraham – categorically displays the pace, pizzazz and vigorous athleticism for which New York’s finest are renowned. At times, it feels almost as though they’re gearing up for the Summer Olympics instead; surely Team USA could use their explosive virtuosity. However, that firepower isn’t always deployed to their best advantage. Link to comment
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