World-class review of ballet and dance.
The Flamenco Festival has been bringing Spain's greatest flamenco artists to New York City Center for twenty years. This year's two-week run saw the National Ballet of Spain, Premio Nacional de Danza winner Olga Pericet in her intimate solo piece, “La Leona,” and Gala Flamenca, highlighting dance talents Manuel Liñán, Alfonso Losa, El Yiyo, and Paula Comitre, accompanied by vocalist Sandra Carrasco. Steven Pisano photographed the festival for Fjord Review.
You can't see the first character who appears in Kashia Kancey's “I Believed It Too,” which was presented at Baryshnikov Arts September 24-26. From behind the audience enters a veiled figure in a sequined gown. Her face is covered while her body oozes down a staircase, clinging to the railing as she bends and falls, descending onto the stage.
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Northern Ballet is the little company that could. Often forgotten and in the shadow of larger UK companies, there is a sense of a new momentum since the takeover by Federico Bonneli of the Leeds-based outfit.
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The lights dim and the mystical Eye of Horus commands our focus. Hieroglyphics and distinctive carvings flank the famous Egyptian symbol of resurrection as the overture swells and the drop curtain morphs into a portal to the past.
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Fresh from performing the concert version of George Balanchine’s “Who Cares?” at the Hollywood Bowl earlier this month, Los Angeles Ballet mounted a tribute to “American Icons” which included Jerome Robbins “The Cage,” Paul Taylor’s “Dilly Dilly,” and the return of artistic director Melissa Barak’s “Wavelength” for an evening at the Broad Stage in Santa Monica.
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