A Parisian Dream
A participatory eagerness, a desire to be part of something sweet and beautiful, suffused the return of George Balanchine’s “A Midsummer Night’s Dream” to San Francisco Ballet on the cusp of spring.
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Grupo Corpo, the Brazilian contemporary company, gave one performance in Austin, sandwiched by stops in Minneapolis and New Orleans, and between engagements in New York City and Europe. I can imagine that these one-nighters blur together for the members of the group, distinguishable only by hotel and theater amenities and the receptiveness of the audience. But for Austin audiences, who have had the opportunity to see the company once every few years since 2008, thanks to programming by the University of Texas, each of these rare performances is distinct. The two ballets on this program, both created for the company in celebration of the company’s fortieth anniversary last year, were memorable syntheses of music, design, movement, and powerhouse execution.
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Grupo Corpo perform “Suite Branca.” Photograph by Jose Luiz Pedernieras
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A participatory eagerness, a desire to be part of something sweet and beautiful, suffused the return of George Balanchine’s “A Midsummer Night’s Dream” to San Francisco Ballet on the cusp of spring.
Continue ReadingEntering 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.
Continue ReadingIn her 1951 autobiography Dance to the Piper, Agnes de Mille spends seven pages describing in colorful detail what it was like to be on the road with the Ballets Russes.
FREE ARTICLESix dancers enter from stage left and position themselves along the rear wall, their backs to the audience. Today, the light through a row of windows casts them in silhouette.
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