We All Fall Down
To fell a tree, after determining the fall path, you need to make a notch in the side of the trunk with your chainsaw.
FREE ARTICLEWorld-class review of ballet and dance.
This triple bill weaves together works by three seminal twentieth-century choreographers: Jiří Kylián, John Neumeier and William Forsythe. As critic Sarah Crompton points out in the programme notes, each of these so-called ‘modern masters’ spent the early years of his career at the Stuttgart Ballet, where a hotbed of artistic innovation bloomed under the direction of the late John Cranko, who encouraged his dancers to create their own works during his reign as director in the 1960s. Together the works on display form a splendid retrospective on the ballet scene of the late twentieth century, and mark English National Ballet’s flagship performance as Sadler’s Wells Associate Company, a partnership I can't wait to see develop further.
Performance
Place
Words
James Forbat and Ksenia Ovsyanick in Jiří Kylián’s “Petite Mort.” Photograph by Amber Hunt
“Uncommonly intelligent, substantial coverage.”
Already a paid subscriber? Login
To fell a tree, after determining the fall path, you need to make a notch in the side of the trunk with your chainsaw.
FREE ARTICLEParis Opera Ballet presented an all-Robbins program at the Garnier from October 24 to November 10: “En Sol,” “In the Night,” and “The Concert,” all works Jerome Robbins made for New York City Ballet.
Continua a leggereThis week at the Joyce, the Van Cleef & Arpels Dance Reflections Festival presented its starriest program yet: “Dancing with Glass: The Piano Etudes.”
Continua a leggereWatching George Balanchine’s “The Nutcracker” the other night at New York City Ballet, I was struck, once again, by the sense of balance it both portrays and embodies.
Continua a leggere
comments