A Danced Rituel
When Frank Gehry was tapped to be the architect of Walt Disney Concert Hall, home to both the Los Angeles Philharmonic and the Los Angeles Master Chorale, he envisioned the space to be “a living room for the city.”
Continue ReadingWorld-class review of ballet and dance.
There was a series of warnings that led up to the moment it all fell apart, but no one listened. Everything appeared to follow a linear trajectory, an illuminated, diagonal path that led straight to the suspended glass orb at the foot of the stage. But the breakdown that ensued, it was neither smooth nor gradual. And it certainly was not linear, as complex, interwoven systems sought to find an equilibrium in the aftermath. You can push things past a tipping point, easily, when armed with a three-pound mash hammer.[1] What you cannot do is push them back. The orb, once broken into pieces, cannot be reassembled. Irrespective of how much you try, you cannot reverse the transition of states.
Performance
Place
Words
When Frank Gehry was tapped to be the architect of Walt Disney Concert Hall, home to both the Los Angeles Philharmonic and the Los Angeles Master Chorale, he envisioned the space to be “a living room for the city.”
Continue ReadingSan Francisco’s War Memorial Opera House is a grand, gracious theater, so it was a big deal to see the San Francisco Ballet School hold its end-of-year performances in that hall for the first time since at least 1985.
Continue ReadingAt its heart, “Sylvia” is a ballet about the resistance to love—a theme that continues to resonate deeply, as the human spirit often recoils from love, driven by fear, pride, a need for control, or the weight of duties and moral constraints.
Continue ReadingSince the 1970s, the Paris Opera Ballet has cultivated a distinctive tradition of nurturing its own dancers as emerging choreographers.
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