dirac Posted June 16 Share Posted June 16 The Museum of Modern Art presents a retrospective of the movies of Michael Powell and Emeric Pressburger, including "The Red Shoes" and "The Tales of Hoffmann." Quote There is a mysterious alchemy behind the vivid collaborations of Michael Powell and Emeric Pressburger. Who else could have dreamed up “The Red Shoes” (1948), with its ravishing color, imaginatively filmed original ballet, and story that distills all the pleasure and pain of art? As Moira Shearer’s Vicky Page dances to her death, she leaps from Hans Christian Andersen’s dark fairy tale into our own world. Link to comment
dirac Posted June 16 Author Share Posted June 16 Wayne McGregor gets a knighthood. Quote Since 2006, McGregor has been resident choreographer at the Royal Ballet. In 2021 he was appointed the director of Dance for the Venice Biennale. “I am very honored to be offered a knighthood and grateful to all of the incredible people who have nurtured me for over 33 years in the art form I love — dance,” McGregor said. Link to comment
dirac Posted June 16 Author Share Posted June 16 Heather Ogden talks about dancing in all three of the "Jewels" ballets. Quote Ogden has also been working extensively with Suzanne Farrell, perhaps the greatest of all Balanchine’s muses. She often performed with Farrell’s Washington D.C. company and the legendary ballerina coached Ogden in her original “Diamonds” role. Last month, to prepare for her performances, Ogden flew down to Farrell’s hometown of Phoenix for a refresher. “Suzanne is always thought-provoking,” said Ogden. “She helped me find new ways to see a role, to work a role, to live a role. I pride myself in being a musical dancer but Suzanne pointed out things I wasn’t hearing: undertones, accents. It’s so much fun to hear new things and play with them.” Link to comment
dirac Posted June 17 Author Share Posted June 17 A review of the Sarasota Ballet by Rupert Christiansen in The Spectator. Quote The roster lacks star virtuosos or glamour queens, and it was mildly disappointing that performances were confined to the small, noisy stage of the Linbury Theatre and accompanied by tinny recorded music. But the collective verve of the company’s lovable dancing more than compensated – everyone knew what they should be doing, even if they couldn’t render all Ashton’s subtlest intentions. Highlights of the week included Valses nobles et sentimentales, a charming ballroom caprice with a transcendently beautiful climax; the seraphically aerial central section of Sinfonietta; Dante Sonata (see above), an impassioned parable of spiritual struggle created during the life-or-death tensions of 1940; and the Wodehousian wit of Façade, a delicious satire of 1920s silliness. How exhilarating to be reminded of Ashton’s remarkable range, and of choreography so supremely musical and inventive Link to comment
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