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Thursday, October 10


dirac

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Ballet Manila presents "Florante at Laura."

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Gerardo is the dance company’s longtime principal dancer and co-artistic associate, who also choreographed the award-winning Ibong Adarna. Working with him is the exemplary British choreographer Martin Lawrance who is behind Ballet Manila’s full length innovative retelling of Romeo and Juliet in the Filipino setting.

 

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A review of New York City Ballet by Mary Cargill for danceviewtimes.com.

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Afanasenkov and Riccardo made “Movements” equally exciting, though I expect no one would like the music to be longer.  Afanasenkov danced with a fierce independence and a triumphant nonchalance which gave a tang to the unexpected moves; I loved the way she grabbed her toes and pulled her leg as if it were the most natural move in the world.  Riccardo’s fluid support, intense concentration, and sculpted dancing set her off perfectly.

 

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 A review of New York City Ballet's gala performance by Gia Kourlas in The New York Times.

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The visionary part was a stretch, but it was a repertory evening that seemed to fall into place the usual City Ballet way: through the music — a piano concerto, a cello concerto and piano selections by Philip Glass. As the night dragged on, however, the program lost its zing. Two sets of speeches would have been bad enough, but there was also a film. Even at a gala, shouldn’t the dancing come first?

 

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