We All Fall Down
To fell a tree, after determining the fall path, you need to make a notch in the side of the trunk with your chainsaw.
FREE ARTICLEWorld-class review of ballet and dance.
“Carmen” has been in the air this year. Especially at the Kimmel Cultural Campus. Almost as a prelude to the Philadelphia Ballet’s “Carmen,” the Philadelphia Orchestra presented choreographer Brian Sanders’ aerial play on Rodion Shchedrin’s 1967 “Carmen Suite” (created for his wife, the Bolshoi’s Maya Plisetskaya) last March at Verizon Hall. Sanders’ version, with life-sized dueling bulls dangling over the orchestra as Yannick Nézet-Séguin conducted, was phenomenally daring and often comical. It all happened down the block from the venerated Academy of Music, also part of the campus where Ángel Corella unveiled his new full-length ballet, “Carmen.”
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To fell a tree, after determining the fall path, you need to make a notch in the side of the trunk with your chainsaw.
FREE ARTICLEParis Opera Ballet presented an all-Robbins program at the Garnier from October 24 to November 10: “En Sol,” “In the Night,” and “The Concert,” all works Jerome Robbins made for New York City Ballet.
PlusThis week at the Joyce, the Van Cleef & Arpels Dance Reflections Festival presented its starriest program yet: “Dancing with Glass: The Piano Etudes.”
PlusWatching George Balanchine’s “The Nutcracker” the other night at New York City Ballet, I was struck, once again, by the sense of balance it both portrays and embodies.
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