World-class review of ballet and dance.
London loves Pina Bausch. The Tanztheater legend is an annual fixture at Sadler’s Wells, and her work still manages to be one of the hottest tickets in town.
Continua a leggereI caught the New York City Ballet’s two Winter Season premieres last week, and it seems that opposites are still attracting over at the Koch Theater.
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Continuing a project launched in 2019, lyrical singer Ekaterina Anapolskaya and former Opéra de Paris sujet, now professor at the ballet school, Gilles Isoart curated an evening of international guests conceived as a celebration of the nineteenth-century heritage.
Continua a leggereCreated in the early sixties, Glen Tetley’s “Pierrot Lunaire” is a rarely revived little dance oddity.
Continua a leggereThe National Ballet of Japan’s annual triple bill of dance, “Ballet Coffret” binged on three neoclassical favorites this year: David Dawson’s “A Million Kisses to my Skin” (2000) Hans van Manen’s “5 Tango’s” (1977) and George Balanchine’s “Themes and Variations” (1947).
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Oh to love and be loved, what a beautiful mess it is. Nobody captures the contradictions of passion quite like Pina Bausch, whose “Sweet Mambo” is cast in her signature silly-meets-sincere mould—another treat for us Bausch bods out here, less fetching perhaps if you’re not a fan of her highly mannered house style.
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Continuing a project launched in 2019, lyrical singer Ekaterina Anapolskaya and former Opéra de Paris sujet, now professor at the ballet school, Gilles Isoart curated an evening of international guests conceived as a celebration of the nineteenth-century heritage.
Continua a leggere
London loves Pina Bausch. The Tanztheater legend is an annual fixture at Sadler’s Wells, and her work still manages to be one of the hottest tickets in town.
Continua a leggere
I caught the New York City Ballet’s two Winter Season premieres last week, and it seems that opposites are still attracting over at the Koch Theater.
Continua a leggere
Created in the early sixties, Glen Tetley’s “Pierrot Lunaire” is a rarely revived little dance oddity.
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The National Ballet of Japan’s annual triple bill of dance, “Ballet Coffret” binged on three neoclassical favorites this year: David Dawson’s “A Million Kisses to my Skin” (2000) Hans van Manen’s “5 Tango’s” (1977) and George Balanchine’s “Themes and Variations” (1947).
Continua a leggere
Carolyn Carlson stands as one of the defining figures of contemporary dance. An American visionary shaped by the radical kinetic thinking of Alwin Nikolais in 1960s New York, she arrived in Europe in 1971 as a seismic force, dismantling the rigid hierarchies of the classical world to forge a new path for modernism. In 1974, she was appointed Étoile Chorégraphe, a title created specifically for her at the Opéra de Paris, where she led the pioneering Groupe de Recherches Théâtrales until 1980. Decades later, she would once again redraw institutional boundaries as the founding director of the Venice Biennale’s first...
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The modern classic “Le Parc” by Angelin Preljocaj is a masterpiece that never ceases to interrogate the dialectic of nature and culture, confronting human behaviour as shaped by societal norms or driven by raw emotion.
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From its first steps in 1986 as Dundee Rep Dance Company with at the helm, to the present day, Scottish Dance Theatre has sealed it's reputation as a forward-thinking company who pushes the limits of what dance can do.
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Few established artists hold recitals anymore. The word “recital” feels both elementary and antiquated, evoking either children parading across an auditorium stage or a nineteenth-century drawing room where the gentry...
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It’s not often that one gets to hear a soprano recital in an up-close-and-personal setting. And it’s even rarer that said soprano has a pair of dancers moving about the stage as part of the performance.
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The first moments of Risa show the petite Risa Steinberg seated at a sleek desktop in her New York apartment.
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The ballet community in Los Angeles, quite large and scattered, is fond of opining that they live in a “tough town for ballet.”
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Dance artists and scholars have long asked the same question: how do we document an art form that, by nature, exists in one moment and is gone the next?
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In a week of humanitarian crisis, of bodies mobilised and menaced, what a privilege it’s been to take refuge in art that radiates integrity, conviction and splendour.
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George Balanchine famously said, “ballet is woman.” But unusually, in “Kammermusik No. 2,” he featured an all-male corps de ballet. I can think of one other men-only Balanchine dance, and it happens to be running the same week this winter season: “Prodigal Son.”
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What makes a good partner? For the dancers of New York City Ballet who are lined up on the stage—KJ Takahashi, Adrian Danchig-Waring, Emma Von Enck, and Sara Mearns—the answer is different, though together, their responses create a pretty comprehensive prescription. A good partner should be collaborative, honest, present, and sensitive.
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San Francisco Ballet artistic director Tamara Rojo has often said she believes ballet should operate more like Broadway, where shows have previews and work through revisions before the real premiere.
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In general, one knows exactly what to expect of a Pam Tanowitz piece. There will be deconstructed ballet and modern steps.
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When I think of the desert, the first impression that comes to mind is of unrelenting heat, stark shadows, the solitude of vast space, occasional winds, and slowness.
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