Wicked Moves with Christopher Scott
Elphaba (Cynthia Erivo) steps down the steps, rests her hat on the floor and takes in the Ozdust Ballroom in Wicked. She elevates her arm, bringing her bent wrist to her temple.
Continua a leggereWorld-class review of ballet and dance.
“Transfigured Night,” Belgian choreographer Stijn Celis' third ballet (“Les Noces,” “Cinderella”) for les Grands Ballets Canadiens, premiered in May. It is a ballet in two parts: the first half tells the Greek myth, Orpheus and Eurydice, entitled “Orpheus' Gaze.” The second half takes its cue from Richard Dehmel's 1896 poem, Transfigured Night, and is set to Arnold Schoenberg's 1899 composition of the same name. The advantage of pairing the two apparently independent ballets in narrative terms, is a subtle one.
Performance
Place
Words
Les Grands Ballets perform Stijn Celis' “Orpheus' Gaze.” Photograph by Richard Champage
“Uncommonly intelligent, substantial coverage.”
Your weekly source for world-class dance reviews, interviews, articles, and more.
Already a paid subscriber? Login
Elphaba (Cynthia Erivo) steps down the steps, rests her hat on the floor and takes in the Ozdust Ballroom in Wicked. She elevates her arm, bringing her bent wrist to her temple.
Continua a leggereThe Sarasota Ballet does not do a “Nutcracker”—they leave that to their associate school. Instead, over the weekend, the company offered a triple bill of which just one ballet, Frederick Ashton’s winter-themed “Les Patineurs,” nodded at the season.
Continua a leggereI couldn’t stop thinking about hockey at the New York City Ballet’s “Nutcracker” this year, and not only because the stage appeared to be made of ice: there were a slew of spectacular falls one night I attended.
Continua a leggereLast week, during the first Fjord Review Dance Critics’ Festival, Mindy Aloff discussed and read from an Edwin Denby essay during “The Critic’s Process” panel.
Continua a leggere
comments