Boundless Beauty
As I watch one after another pastel tutu clad ballerina bourrée into the arms of a white-tighted danseur, a melody not credited on the program floats through my brain. You know the one.
PlusWorld-class review of ballet and dance.
This October, the Canada National Ballet returned to London for the first time since 2013 with a series of performances at Sadler’s Wells Theatre. The programme, which included three short works—James Kudelka’s “Passion,” Emma Portner’s “Islands,” and Crystal Pite’s “Angels’ Atlas”—afforded Londoners the opportunity to view a world-class company and celebrate a cast of all-Canadian choreographers. However, the highlight of the company’s visit was the chance to catch sight of a famed prima ballerina at the height of both her artistic and technical powers: Heather Ogden.
Performance
Place
Words
“Uncommonly intelligent, substantial coverage.”
Your weekly source for world-class dance reviews, interviews, articles, and more.
Already a paid subscriber? Login
As I watch one after another pastel tutu clad ballerina bourrée into the arms of a white-tighted danseur, a melody not credited on the program floats through my brain. You know the one.
PlusMisty Copeland’s upcoming retirement from American Ballet Theatre—where she made history as the first Black female principal dancer and subsequently shot to fame in the ballet world and beyond—means many things.
PlusHaneul Jung oscillates between the definition of the Korean word, man-il meaning “ten thousand days” and “what if.”
PlusMoss Te Ururangi Patterson describes his choreographic process having a conversation with other elements. As he describes pushing himself under the waves, and a feeling of meditative, buoyancy as he floated in space, the impression of light beneath the water was paramount.
Plus
comments