Spring Dances
It was a tri-polar night—but in a good way—last weekend, with a trio of high-energy, beautifully crafted works performed by the spectacular members of L.A. Dance Project.
PlusWorld-class review of ballet and dance.
Entering his 10th year as artistic director of Philadelphia Ballet, Ángel Corella put his artists through a ring of fire in their early spring concert at the Academy of Music. The program began with Alvin Ailey’s 1970 “The River” danced to a smooth score which Duke Ellington wrote for the work. The entire program, though made of works from the ’70s and ’80s, looked oh so today and often took us through a history of ballet showing how, even though only 50 years ago and less, choreographers, individual dancers and companies reaccentuate work and redefine repertoires.
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It was a tri-polar night—but in a good way—last weekend, with a trio of high-energy, beautifully crafted works performed by the spectacular members of L.A. Dance Project.
PlusOn a mild spring night, the New York City Ballet held a similarly temperate Gala performance. The flower arrangements were lovely, the speeches were okay, the two premieres weren’t bad, and the Balanchine excerpt was sturdy. In almost every way, it was an enjoyable—if not overly momentous—night at the ballet.
PlusSan Francisco Ballet artistic director Tamara Rojo may have taken on more drama than she bargained for programming a star-studded “Swan Lake” encore for the finale of her first season here.
PlusThe Flamenco Festival has been bringing Spain's greatest flamenco artists to New York City Center for twenty years.
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