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Irresistible
REVIEWS | Par Rachel Elderkin

Irresistible

“Manon” is perhaps one of Kenneth MacMillan's most celebrated works, so it is fitting that it draws to a close a Royal Ballet season that has seen a number of performances in commemoration of the 25th anniversary of the choreographer's death.

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Mixed Masters
REVIEWS | Par Oksana Khadarina

Mixed Masters

There was much to admire about the Washington Ballet’s program titled “Mixed Masters” which the company brought to the Kennedy Center Eisenhower Theater in April. This sophisticated, ambitious and highly enjoyable triple bill included signature ballets by the 20th century great choreographers: George Balanchine, Frederick Ashton, and Jerome Robbins—the masters “whose genius has shaped our art form immeasurably,” artistic director of the Washington Ballet Julie Kent wrote in the program notes.

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Playlist (Track 1, 2)
REVIEWS | Par Sara Veale

Forsythe at the Ready

English National Ballet has spent recent months fighting off rumours about its cohesion, or purported lack thereof, under Tamara Rojo’s leadership; whispers have abounded alleging a hostile environment and a worrying degree of turnover, with around a third of ENB’s dancers having left the company in the last two years. That said, the company’s latest bill betrays no signs of such disquiet, presenting a troupe that looks assured, energetic and game to try its hand at a an increasingly diverse array of styles.

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A New Giselle
REVIEWS | Par Victoria Looseleaf

A New Giselle

Men. You can’t live with ’em and you can’t let ’em die. At least that’s the thinking in “Giselle,” the Romantic gold standard of any traditional ballet company in which the heroine falls for the wrong man, goes insane, perishes and is reborn as a Wili, a vampire-like creature that takes revenge on her fraudulent beau, only to let him live in the end.

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Leonard Bernstein
REVIEWS | Par Rachel Elderkin

Music of the Ballet

The Royal Ballet’s centenary celebration of composer Leonard Bernstein’s birth has resulted in a compelling triple bill that features premieres by Wayne McGregor and Christopher Wheeldon, alongside a revival of Liam Scarlett’s “Age of Anxiety.”

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All Robbins
REVIEWS | Par Oksana Khadarina

All Robbins

In less than a month, New York City Ballet will unveil its “Robbins 100” festival at David H. Koch Theater in New York to commemorate the centennial of Jerome Robbins’ birth. In the course of a three-week period, the company will present six distinctive programs, featuring 19 ballets by Robbins, plus two world premieres, including a new ballet by Justin Peck choreographed to the music by Leonard Bernstein.

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Gemma Bond
REVIEWS | Par Rebecca Ritzel

Pas de trois

Three young dancer/choreographers debuted new ballets in Washington, D.C., last month, each with distinct strengths: Clifton Brown is highly musical, Gemma Bond has a great sense of structure and Marcelo Gomes excels at developing character.

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Capital Gains
REVIEWS | Par Oksana Khadarina

Capital Gains

The first of two programs New York City Ballet brought to the Kennedy Center in March featured five ballets, including three works by George Balanchine: “Divertimento No. 15,” “Tschaikovsky Pas de Deux,” and “Symphony in Three Movements.”

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San Francisco
REVIEWS | Par Rachel Howard

The Dreamer

I can’t remember the first time I saw “Swan Lake” or “Serenade,” but I will never forget the first time I saw Jerome Robbins’s “Dances at a Gathering.” I was twenty-six and had just flown from California to New York City for the first time in my life. Equally frightening: I had just received a marriage proposal from the man I’d begged, for years, to marry me—and suddenly I wasn’t sure whether I should marry him. I sat smack in the middle of the orchestra section for a New York City Ballet matinee and up went the curtain and out...

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Sense and Sensibility
REVIEWS | Par Jade Larine

Sense and Sensibility

Many balletomanes (rightly) worship “Onegin” but few of them have read the eponymous novel by Pushkin, a founding father of modern literature in Russia. Yet, the book and ballet are closely intertwined, both in text and steps. Prey to mal du siècle, Onegin is said to cast “a mournful gaze” on the “dreary stage” at a ballet performance. He yawns and leaves. In hindsight, isn’t it ironic, given that Cranko’s masterpiece has the opposite effect on the audience? The ballet arouses passions, whether positive or negative. Some dismiss it as an offence to the inner realm of Pushkin and Tchaikovsky—Balanchine...

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Song & Dance
REVIEWS | Par Victoria Looseleaf

Song & Dance

Heartbreakingly beautiful, sublime and an utter triumph, John Neumeier’s production of “Orpheus and Eurydice,” a collaboration between the Joffrey Ballet and Los Angeles Opera, is the epitome of high art. Having debuted in Chicago last September and co-produced by L.A. Opera, Lyric Opera of Chicago and Staatsoper Hamburg, the work that premiered in 1762 Vienna and was composed by Christoph Willibald Gluck, makes use of the 1774 Paris version (“Orphee et Eurydice”), with a libretto by Pierre-Louis Moline.

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Stormy Weather
REVIEWS | Par Merilyn Jackson

Stormy Weather

If ballet were an Olympic sport, BalletX’s Andrea Yorita would be taking home the gold for her performances in the company’s spring series at the Wilma last weekend. She dazzled in Matthew Neenan’s “Increasing” and Trey McIntyre’s “The Boogeyman.”

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