Painterly Expression
The Sarasota Ballet’s return to Jacob’s Pillow for five days of a triple bill that included two little-seen works by Sir Frederick Ashton and a world premiere by Jessica Lang, was charged with anticipation and curiosity.
PlusWorld-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.
Performance
Place
Words
The Sarasota Ballet’s return to Jacob’s Pillow for five days of a triple bill that included two little-seen works by Sir Frederick Ashton and a world premiere by Jessica Lang, was charged with anticipation and curiosity.
PlusLos Angeles–based dance artist Jay Carlon knew that the proscenium stage couldn’t house his 2024 work, “Wake,” in its fullness. So he moved it elsewhere: to a rave.
PlusChoreography wasn’t on Lia Cirio’s radar when artistic director Mikko Nissinen asked her to participate in Boston Ballet’s ChoreograpHER initiative in 2018.
PlusIngrid Silva’s expression is calm, the side of her mouth upturned a few degrees, as if she’s delighting in the reception of her own joke.
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