Ce site Web a des limites de navigation. Il est recommandé d'utiliser un navigateur comme Edge, Chrome, Safari ou Firefox.

Latest


When Beauty Awoke
REVIEWS | MARINA HARSS

When Beauty Awoke

How many ways to think about “Sleeping Beauty”? In the first written Italian and French versions, the plots outline the fate of a young girl as the object of family jealousy, trickery and, after being drugged asleep, ravishment. By the mid-19th century, the Brothers Grimm toned down the storyline, romanticized and adapted it as a story fit for children. Ivan Vsevolozhsky, Tchaikovsky, and Marius Petipa’s 1890 landmark ballet further refashioned it. But another few generations of scholarly research recognized the darker undertones and representations of girls in the fairy tale tradition. Apart from handsome swains or huntsmen who save damsels like...

Plus
Rainbow After
REVIEWS | MARINA HARSS

Rainbow After

In a world in the midst of war, emerging from its post-pandemic slumber, themes and acts of unity, contact and harmony are more than welcome. The differences that make us human are also, dichotomously, the magic that brings us closer together. The subtle nuances of language, the freckles on your skin, the color and glorious hues of your eyes, the food you eat and the mannerisms and peculiarities that identify you as you, are the uncompromising glue that holds us together.

Plus
Stabat Mater
REVIEWS | Par Rachel Howard

Stabat Mater

It’s a bit shocking to see un-ironically religious art onstage in our age, and all the more so as Lent turns a corner toward Holy Week. The world premiere of Jessica Lang’s “Let Me Mingle Tears with Thee” at Pacific Northwest Ballet was not timed to the church calendar, though. Lang has been working with Pergolesi’s “Stabat Mater,” from 1736, for at least a decade, with ever deepening responsiveness. Her latest visual manifestation of this score for harpsichord, strings, and two voices capped a winner of a mixed bill that also unveiled a world premiere by Alejandro Cerrudo, in a...

Plus
When Dreams Come True
REVIEWS | Par Rachel Howard

When Dreams Come True

San Francisco Ballet is riding high this season, cruising onward from a new works festival that yielded some real keepers; a “Giselle” freshly energized by new artistic director Tamara Rojo’s coaching; and a mixed bill that scored a hit with the stage premiere of Myles Thatcher’s youthful “Colorforms.” Recently retired artistic director Helgi Tomasson handled all this programming before he stepped down, and it was surely smart of him, box-office-wise, to schedule Christopher Wheeldon’s family friendly “Cinderella” to coincide with spring break. A packed Wednesday night house was clearly delighted by the whole spectacle. I regret, then, to confess an...

Plus
Smooth as Silk, Strong as Steel
REVIEWS | Par Marina Harss

Smooth as Silk, Strong as Steel

The style Kyle Abraham has honed over the years is unmistakable: a silken coordination of the body in which ripples and undulations pass through skin and sinew; an expressive use of the back; hands that touch, and really feel; impulses that start here but find their way there, and then there; a deep sensitivity to music coupled with an intelligent response to lyrics; a penchant for melancholy, leavened with sass. Abraham has a way of revealing his dancers to us without depriving them of mystery or coolness; he builds an atmosphere of intimacy, but something is held in reserve.

Plus
Northern Exposure
REVIEWS | Par Marina Harss

Northern Exposure

The good news is that companies are touring again. It seems like an age since New York received regular visits from large troupes from Europe and Russia. Seeing the National Ballet of Canada at City Center this weekend, back in the city for its first visit since 2016, brought home just how much the world has changed, and not for the better, in the last few years, through a global pandemic and, now, a shattering war that has divided the world into two camps.

Plus
March Gladness
REVIEWS | Par Faye Arthurs

March Gladness

I’ve long been preoccupied with the blurry boundary between arts and sports. To my mind, the Rose Adagio balances in “Sleeping Beauty” and Odile’s 32 fouettés in “Swan Lake” are akin to the triple axels in figure skating competitions. It was fitting, then, that Ailey II’s New York Season, which opened last week at the Ailey Citigroup Theater, fell during March Madness. As anyone with a busted bracket knows—and that’s most people this year—stats and seeds can amount to nothing in that wild window that is a live performance.  Oddly enough, most young dancers get very little performance experience until...

Plus
Clipped Wings
REVIEWS | Par Marina Harss

Clipped Wings

“La Sylphide” is a cautionary tale. Young men should not abandon their fiancées on their wedding day; they should not be unkind to beggar-women who turn up on their doorstep; and certainly they should not attempt to capture and possess that which can never belong to them. These lessons are hard-won. By the time the ballet has ended, a sylph—a spirit of the forest—has lost her wings, gone blind and died. The transgressor has lost everything: his family, his future, and, quite possibly his life.

Plus
View from the Still Point
REVIEWS | Par Gracia Haby

View from the Still Point

You can fit a lot into three hours. You can span, if you have the reach and vision of choreographer Lucy Guerin, 21-years in a performance installation at the Australian Centre for Contemporary Art (ACCA). A Lucy Guerin Inc production, presented in partnership with ACCA, as part of Frame: a biennial of dance, “Newretro” is 21 works, for 21 dancers, 21 years in the making. It is a recreation, rather than a retrospective, remixed from what was into what is, because this is as much about what the next 21 years might hold as it is about the wealth and...

Plus
A Jubilant Don Quixote
REVIEWS | Par Gracia Haby

A Jubilant Don Quixote

Just as the iconic 1973 film transferred stage designs to film, and the choreography “from a stage setting to a film setting [to] let the camera tell the story,”[1] The Australian Ballet have transferred the energy and humour of the film to the stage once more. As befits a company’s 60th anniversary, transplanting Rudolf Nureyev and Robert Helpmann’s “Don Quixote” from screen to stage 50 years later, called, of course, for a repolish of colour, as all tributes to legacy should. And so, to do justice to both anniversaries, as artistic director David Hallberg introduced, this rendition connects Nureyev’s “original stage...

Plus
Elevation
REVIEWS | Par Claudia Lawson

Elevation

For the first time in six years an international choreographer has created a work on Sydney Dance Company. Spanish superstar Marina Mascarell’s “The Shell, A Ghost, The Host and The Lyrebird” is one of three works being performed at the Sydney Opera House as part of the company's triple bill, “Ascent.” The night brings together three wildly different works, three sublimely different choreographers, and two world premieres.

Plus
Rainbow After
REVIEWS | Par Paul McInnes

Rainbow After

In a world in the midst of war, emerging from its post-pandemic slumber, themes and acts of unity, contact and harmony are more than welcome. The differences that make us human are also, dichotomously, the magic that brings us closer together. The subtle nuances of language, the freckles on your skin, the color and glorious hues of your eyes, the food you eat and the mannerisms and peculiarities that identify you as you, are the uncompromising glue that holds us together.  

Plus
Good Subscription Agency