dirac Posted June 9 Share Posted June 9 A review of the National Ballet of Canada by Gianmarco Segato for Bachtrack. Quote The packed house roared with approval for National Ballet of Canada’s Don Quixote, the triumphant return of this joyful tribute to all things sunny and Spanish that has been missing from the company’s repertoire since 2007. Then, it was presented in George Balanchine’s idiosyncratic 1965 version set to a modern score rather than the clicking castanets and fandango-filled rhythms of Ludwig Minkus’s 1869 confection. For its return, NB Artistic Director Hope Muir invited her former English National Ballet colleague, the great Cuban dancer Carlos Acosta, to revive his 2022 Birmingham Royal Ballet restaging of Don Quixote, itself a reworking of his 2013 version for The Royal Ballet, Covent Garden. Link to comment
dirac Posted June 9 Author Share Posted June 9 A review of the Prague Chamber Ballet in "La Strada" by Ilona Landgraf in her blog, "Landgraf on Dance." Quote Gelsomina (Bára Müllerová) blew the trumpet once, but the shrieking tone that she produced almost floored Matto. Clever uses of sounds defined the setting; the swooshes of the surf indicated the clothesline rope onto which Gelsomina’s mother (Mária Dorková) pinned the laundry on the beach. The clatter of a moped made clear that the red rolling cart that Zampano (Ennio Zappalà) pulled by hand symbolized the ramshackle two-wheel motorhome that he rode in the film. Spoken text was used moderately. The dancers quoted a few iconic lines from the film (for example, “Zampano arrived” and “Gelsomina, the drum!”), and equally bizarre dialogue accompanied a bizarre circus freak show. Link to comment
dirac Posted June 9 Author Share Posted June 9 A review of New York City Ballet by Marianne Adams for danceviewtimes.com. Quote In its second of two programs featuring works by contemporary choreographers, New York City Ballet dazzled and dazed, leaning heavily on the quality of its dancers to bring forward the more vibrant elements of the presented ballets’ expressive palettes, both physical and emotional. The best of the evening – the absolutely devastating “This Bitter Earth” and the energetic “Herman Schmerman” - were bookended by the less inspiring Pam Tanowitz’s ballet “Law of Mosaics” and Kyle Abraham’s “Love Letter (on shuffle),” both 2022 creations. Still, even those two works had their memorable moments thanks to the cast. Link to comment
Recommended Posts