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Friday, October 11


dirac

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The Grand Rapids Ballet opens its new season.

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The performance at Peter Martin Wege Theatre will include three acclaimed works and one-premiere. The dynamic first-ever collaboration between the Grand Rapids Ballet and the Grand Rapids Symphony will feature musicians and dancers sharing the stage Oct. 11-13. The symphony’s music director Marcelo Lehninger is conducting the unique production.
“It’s the best thing in the world when you have live music to dance to,” said James Sofranko, artistic director for the Grand Rapids Ballet. “It fills the space with so much more energy and it makes it special.”

 

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A review of the final program of Fall for Dance by Leigh Witchel for dancelog.nyc.

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Trenary’s accomplishment, not only getting through it but doing it with strong, precise execution on short notice, was extraordinary. That doesn’t make State of Darkness a great dance. There isn’t a lot of point to describing what happened. More of the same for the entire score. An amazing feat of endurance, and likely why it attracts dancers to the challenge. But also, it felt similar to the way some actors love roles where they have to completely change their appearance – it’s award-bait.

 

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A review of Laterna magika by Ilona Landgraf in her blog, "Landgraf on Dance."

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The limitations imposed by age were the most poignant, perhaps because they are inescapable. The stage romance that once connected an aged ballerina (Zuzana Hrzalová) and an old dancer (Josef Kotěšovský) wasn’t yet over. Hrzalová hastened toward the wings like a sylph searching for her fellows and was followed by the seventy-four-year-old Kotěšovský, who tried to partner her despite his body’s lack of pliability. Hrzalová finally put on her pointe shoes and relived her ballerina past during a short solo. Kotěšovský, by then unable to move, was later carried to her, and he rested his head in her lap. His career had reached its end. The life of the ten-year-old Josefína Strejčková had yet to unfold. All artists remained motionless when Strejčková walked on stage, picked up the mobile phone camera, and began to record them.

 

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