A Danced Rituel
When Frank Gehry was tapped to be the architect of Walt Disney Concert Hall, home to both the Los Angeles Philharmonic and the Los Angeles Master Chorale, he envisioned the space to be “a living room for the city.”
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Choreography, for many, is a mystical art, and one that needs bodies on which to create movement. So, when the pandemic forced a lockdown in 2020, Alonzo King, artistic director and co-founder of the San Francisco-based Alonzo King Lines Ballet, did what he does best, albeit under far different circumstances: He worked inside the troupe’s studios, but in confined bubbles; he sculpted his dancers’ bodies outside at Golden Gate Park; and, among other places, he fashioned forms on a farm in Arizona, all in order to build work for the company’s 40th anniversary.
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When Frank Gehry was tapped to be the architect of Walt Disney Concert Hall, home to both the Los Angeles Philharmonic and the Los Angeles Master Chorale, he envisioned the space to be “a living room for the city.”
Continue ReadingSan Francisco’s War Memorial Opera House is a grand, gracious theater, so it was a big deal to see the San Francisco Ballet School hold its end-of-year performances in that hall for the first time since at least 1985.
Continue ReadingAt its heart, “Sylvia” is a ballet about the resistance to love—a theme that continues to resonate deeply, as the human spirit often recoils from love, driven by fear, pride, a need for control, or the weight of duties and moral constraints.
Continue ReadingSince the 1970s, the Paris Opera Ballet has cultivated a distinctive tradition of nurturing its own dancers as emerging choreographers.
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