Going Solo with Lar Lubovitch
“I never set out particularly to be a creator of solos,” says Lar Lubovitch. “But after 60 years in the dance world and 120 dances, I will have made a number of solos.”
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A participatory eagerness, a desire to be part of something sweet and beautiful, suffused the return of George Balanchine’s “A Midsummer Night’s Dream” to San Francisco Ballet on the cusp of spring. Many audience members inside the War Memorial Opera House wore pastel silk or lace, and adorned their heads with delicate flower garlands purchased from the company gift shop. On stage, the dancers were even more finely arrayed: For this production, artistic director Tamara Rojo borrowed the sets and costumes by Christian Lacroix created for Paris Opera Ballet in 2017. The whole visual package had a feeling of old world, hand-crafted care, not only in Lacroix’s unbelievably detailed second act tutus (white lace on top, pink tulle in a bright rim below), but especially in the hand painted sets with their giant pansies shading Titania’s bower. Most remarkably, none of this upstaged the dancing.
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“I never set out particularly to be a creator of solos,” says Lar Lubovitch. “But after 60 years in the dance world and 120 dances, I will have made a number of solos.”
Continue ReadingIn the canon of classical ballet, star-crossed love is an integral theme. With its US debut of “The Butterfly Lovers”—a new full-length work inspired by a Chinese folktale that dates back to the Tang Dynasty—Hong Kong Ballet brings an artfully rendered addition to this tradition
Continue ReadingThey begin to move without warning, slowly, as if awakened from some eons-long slumber. A mass of 18 dancers, all dressed in varying bright tones, moves just at the edge of the rising tide in front of a U-shaped crowd sitting against the dunes of Rockaway Beach.
Continue ReadingFor nearly 50 years the legendary dance photographer, Paul Kolnik, helped create the visual identity of the New York City Ballet.
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