dirac Posted May 31 Share Posted May 31 Q&A with Peter Ottmann, who is retiring from the National Ballet of Canada. Quote Now, you are retiring after 48 years with the company. It turned out to be a mutual decision. I had already decided that this was going to be my last year, but as it happens, so did artistic director Hope Muir. She’s planning to bring in a lot of new choreography, so she needs a staff for the long term — people who will become familiar with the new repertoire, and if I stayed, my time would be limited. We had a good meeting. Link to comment
dirac Posted May 31 Author Share Posted May 31 Philadelphia Ballet presents its Spring Festival. Quote The program featured Bourbon St. choreographed by Angel Corella and Russell Ducker, "a high-energy homage to the nightlife of New Orleans, set to music by Louis Prima and the Barcelona Hot Angels." The next piece was On Cloud 9, which the Ballet described as,"a celebration of the beautiful music and carefree attitude of the 1950’s, that transports audiences back in time." The Philadelphia Ballet closed the evening with Suspended in Time, by Angel Corella, Russell Ducker, and Kirill Radev which showcased the music of Electric Light Orchestra. Link to comment
dirac Posted May 31 Author Share Posted May 31 A review of Marina Harss' "The Boy From Kyiv" by Robert Steven Mack in the June issue of The New Criterion. Quote In an incisive and swiftly flowing biography, Harss describes the varied influences that have shaped Ratmansky into one of the foremost classical-ballet choreographers working today. Born in Leningrad in the former Soviet Union to Ukrainian parents, Ratmansky left home at age ten to join the Bolshoi Ballet Academy in Moscow. Harss stresses how, as a boy from the provinces, he was an outsider from the beginning. Training as a dancer in the vaunted catacombs of tradition that is the Bolshoi, Ratmansky felt something lacking in the school’s house style of overwrought emotion and pyrotechnic displays of virtuosity. He returned to Kyiv to dance but was ultimately inspired by the movement quality of George Balanchine’s New York City Ballet to move west. Link to comment
dirac Posted June 9 Author Share Posted June 9 A review of New York City Ballet by Mary Cargill for danceviewtimes.com. Quote Phelan was a lovely Titania, with creamy dancing, an elegant line, clear, flowing shapes and a costume to set off her porcelain beauty. Her dance with the unnamed cavalier (Peter Walker, a paragon of deferential nobility) was effervescent, full of daring jumps and floating lifts. I did miss an imperious power in her mime, and she seemed a bit too polite to hog the little changeling. She often seemed like a phenomenally talented dancer rather than a willful, slightly dangerous magical creature, though her dance with Bottom (a wonderfully hangdog Lars Nelson) was exceptionally vivid. She played it straight, without any knowing nods to the audience, which made her helpless infatuation even funnier. She was a perfect incarnation of blind love Link to comment
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