Beyond the Clouds
When the lights for “Opal Loop/Cloud Installation #72503” come up on four dancers silhouetted by refracted light of a billowing cloud of fog, the scene rivals halftime at the Superbowl.
PlusWorld-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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When the lights for “Opal Loop/Cloud Installation #72503” come up on four dancers silhouetted by refracted light of a billowing cloud of fog, the scene rivals halftime at the Superbowl.
PlusOn a bright spring afternoon, as Paris basked in long-awaited sunlight and the city frantically moved in the heat, the Opéra Garnier opened a portal to another world—a realm of eternal forms, ethereal beauty, and blue distances: those trembling horizons where the sea dissolves into sky, and the eye reaches toward the infinite.
PlusWhat does it mean to devote your life to dance? Amy Sherman-Palladino and Daniel Palladino’s new streaming series, “Étoile,” which debuted April 24 on Prime Video, attempts to answer this question in a way that resonates with both dancers and general audiences. Not an easy task.
PlusJennifer Archibald’s choreography credits extend from ballet companies to commercial work, reflecting her signature ability to blend classical dance with hip hop.
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