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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There are two very distinct strands to Richard Alston's choreography. The first is a provocative, experimental path, where Alston's eccentric musical choices dictate the shifts and twists within. The second is a more classical, traditional route. Yet, both are never too sentimental or frilly, in spite of the craftsmanship. His is a “get on with it” approach, and there is an enormous amount of heart and humour, so it's really heartbreaking to think there have been recent cuts to the company, and they're winding down.
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Pierre Tapon, Nancy Nerantzi, Anelli Binder in “Isthmus.” Photograph by Tony Nandi
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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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