Piece by Piece
Like two cicadas advancing, springing instep with each other, Tra Mi Dinh and Rachel Coulson manifest from the shadows of the deep stage of the new Union Theatre.
Continua a leggereWorld-class review of ballet and dance.
Although it was born in Paris (Vernoy de Saint-Georges/Mazilier, 1856), “Le Corsaire” is no prophet in its own land. Its lascivious oriental patterns could have been fashioned out by Nerval, Chateaubriand or Dumas' literary orientalism. Yet “Le Corsaire” was based on an eponymous poem by a hereditary frenemy's icon: the Englishman Lord Byron. In spite of its roaring success, in the upper spheres of the Second Empire, the exotic ballet soon started to sail away “over the glad waters of the dark blue sea,” thus falling into disuse at the Paris Opera.
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Tamara Rojo and Osiel Gouneo in English National Ballet's “Le Corsaire.” Photograph by Laurent Liotardo
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Like two cicadas advancing, springing instep with each other, Tra Mi Dinh and Rachel Coulson manifest from the shadows of the deep stage of the new Union Theatre.
Continua a leggere“I can’t even stand it,” exclaimed Tina Finkelman Berkett about the Perenchio Foundation grant that her dance troupe, BodyTraffic, recently received.
Continua a leggereBeneath a tree also over a century old is where I meet dancer and artist Eileen Kramer, and where the 60-minute loop will end. And it feels fitting, on the heels of her recent death on November 15, 2024, at 110-years-of-age, to start here, at effectively the end of Sue Healey’s screening of On View: Icons.
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