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

Latest

Force of Nature
REVIEWS | Par Karen Hildebrand

Force of Nature

It wouldn’t hurt to have a tutorial at the ready when attending a show by Time Lapse Dance. The dynamic movement and flowing fabric that are signature elements of work by founder and choreographer Jody Sperling deliver a visually gorgeous evening of performance, but there is always a deeper level to discover for those curious about how and why the works exist. “We start with the science,” said composer Matthew Burtner about his collaborations with Sperling, during the post show Q&A on May 5 when the company showed four works in Manhattan, its first stage appearance in two years following...

Plus
Symphonic
REVIEWS | Par Marina Harss

Symphonic

It has been a few years since New York City Ballet danced Balanchine’s “Symphony in Three Movements,” so its return as part of the company’s Stravinsky Festival is particularly welcome. Created the same year (1972) as his “Stravinsky Violin Concerto,” it represents the pinnacle of Balanchine’s response to Stravinsky’s music. The ballet’s confidence, from start to finish, is monumental.

Plus
Stravinsky Variations
REVIEWS | Par Marina Harss

Stravinsky Variations

The 1972 Stravinsky Festival at New York City Ballet is one of those mythical moments people speak of with glowing tones of wonderment: 30 ballets! 20 premieres! New works by Balanchine, Robbins, John Taras, Todd Bolender, and more! Not to mention the fact that it was the occasion of the creation of two the greatest Stravinsky ballets ever made: “Symphony in Three Movements” and “Stravinsky Violin Concerto.”

Plus
Flow State
REVIEWS | Par Candice Thompson

Flow State

The dancers of Sasha Waltz & Guests and the musicians of Bang on a Can All-Stars walked onstage in silence, their forms making dark silhouettes against a saturated pink backdrop. For a few minutes they milled about, reconfiguring into different pairs, groups, and lines before the musicians eventually settled themselves at their instruments and the dancers found their marks. A bright chime sound, coming from percussionist David Cossin, set the the driving beat that propels Terry Riley’s iconic minimalist score “In C” forward. As more lights came up and the dancers warmed up with rhythmic shoulder rolls and head turns,...

Plus
A Season to Celebrate
REVIEWS | Par Rachel Howard

A Season to Celebrate

Dozens of ballet luminaries including Hamburg Ballet director John Neumeier, Joffrey Ballet director Ashley Wheater, and recently retired New York City Ballet principal Gonzalo Garcia gathered here last week on a confetti-blasted opera house stage to mark the end of an era. Helgi Tomasson, artistic director of the San Francisco Ballet since 1985, is about to finish his final season. The larger ballet world’s moment of overwhelming change, with the revamp in leadership at New York City Ballet, and Kevin McKenzie’s impending retirement at American Ballet Theatre, feels magnified here. Tomasson has served seven years longer than McKenzie has led...

Plus
The Mozart Touch
REVIEWS | Par Marina Harss

The Mozart Touch

George Balanchine’s “Divertimento No. 15” is a ballet one longs to see, but seldom comes out of the theater fully satisfied by. “Arlene Croce quipped that ‘Divertimento No. 15’ is one of those ballets that are famous for not being done well,” Nancy Goldner writes in her essential volume More Balanchine Variations. “My experience with it would prompt me to amend that to ‘not done well enough.’” I tend to agree with the latter assessment. It is an extraordinary ballet, sophisticated, pure, both light and transparent in its construction. But it seldom achieves the kind of transcendence and flow suggested...

Plus
Beautiful Monster
REVIEWS | Par Claudia Lawson

Beautiful Monster

It’s almost 18 months since David Hallberg, the South Dakota native and long-time New Yorker, took over as artistic director at the Australian Ballet, and it finally feels as though the Covid shackles are off. To date, there hasn’t been a true opportunity to see what he might bring to Australia. But here it is: “Kunstkamer,” a wildly ambitious contemporary work, it feels like a make or break work for the new artistic director. And, with it David Hallberg's dramatic return to the stage.

Plus
Celebrating Carla Fracci
REVIEWS | Par Valentina Bonelli

Celebrating Carla Fracci

The first edition of the “Gala Fracci,” an initiative of ballet director Manuel Legris, took place at La Scala as a commemorative evening. In her beloved theatre our prima ballerina assoluta was raised but was refused as a ballet director. The calling for a series of masterclasses on “Giselle” just before her death and this very sincere Gala has healed past wounds. In a packed house, Beppe Menegatti, Fracci’s husband, was missing, due to illness or maybe to the fear to be overwhelmed by emotions. A pity, as he was the Pygmalion of the ballerina’s extraordinary career, well retraced by...

Plus
Far Away and Personal with Janie Taylor
INTERVIEWS | Par Faye Arthurs

Far Away and Personal with Janie Taylor

I had the pleasure of interviewing Janie Taylor, my close friend of 25 years, in advance of the L.A. Dance Project’s upcoming run at the Joyce Theater. From May 3-15, LADP is presenting two programs of works by female choreographers—one of whom is Janie. Though she started choreographing just three years ago, Janie has two ballets in the lineup which will have their NYC premieres: “Adagio in B Minor,” a duet to Mozart, and “Night Bloom,” an ensemble piece to Stravinsky that will close every night. She will also perform in Bobbi Jene Smith and Or Schraiber’s Covid-inspired work, “Solo...

Plus
Flamenco Fever
REVIEWS | Par Marina Harss

Flamenco Fever

In March 2020, just as the Flamenco Festival was rolling into town, the world shut down. The dancers packed up their flamenco shoes and went home. The festival’s return, two years later, then, is also a welcome return to one of the city’s most celebratory yearly rituals. (This is the festival’s twentieth anniversary.) Even if this year’s edition is smaller than earlier ones, with just two dance shows at City Center versus four or five or more, the overwhelming sense is one of relief. The flamencos are back.

Plus
Many Ways to Listen
REVIEWS | Par Marina Harss

Many Ways to Listen

The 1971 ballet “Goldberg Variations,” by Jerome Robbins, has a reputation for being long, and, for that reason, one of the choreographer’s “difficult” ballets. Robbins used all thirty of the keyboard variations Bach developed on a simple, mournful theme. With the exception of three in G minor they are in a single key, G major. Almost perversely, Robbins kept all the repeats. The music is played at a more leisurely pace than in most keyboard recitals. And in the first half of the ballet, there are few large ensembles or showy steps. “Goldberg” is a ballet that asks us to...

Plus
Beauty in Blackness
REVIEWS | Par Karen Greenspan

Beauty in Blackness

There was a celebratory spirit in the packed house on opening night for Shamel Pitts’ and Tribe’s New York Live Arts season. As people located their seats, energetic jazz riffs played over the sound system and projected white specks of light floated in a circular formation on the black stage floor simulating the cosmic phenomenon of a black hole. At long last, the final instalment of Pitts’ “Black Trilogy,” titled “Black Hole: Trilogy and Triathlon,” was having its pandemic-delayed New York premiere.

Plus

Featured Reads

REVIEWS | Rachel Howard
Starry Nights

Beneath blue California skies, manicured trees, and the occasional hum of an overhead airplane, Tamara Rojo took the Frost Amphitheater stage at Stanford University to introduce herself as the new artistic director of San Francisco Ballet.

Plus
Good Subscription Agency