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.
There seems to be no clear organizing principle behind the programs at the yearly Fall for Dance festival at New York City Center. No principle, that is, beyond the very laudable one of offering a wide range of dance from various corners of the world to the public at a very accessible price.
Programs can be hit or miss, it’s true, but there’s usually at least one item that quickens the pulse. In the final program (program five) of the festival, that was Bijayini Satpathy’s performance of the Odissi solo “Sitāharan,” a retelling of an episode from the fifth century BC epic the “Ramayana.” I call it a solo, but in reality it is a quintet, danced by Satpathy, sung (with gorgeous tone) by the vocalist Bindhumalini Narayanaswamy, and played by Sanjib Kumar Kunda, Sibasankar Satapathy, and Srinibas Satapathy on violin, mardala drum, and flute. (The latter two are Satpathy’s brothers.) All traveled from India.
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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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