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.”
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The Royal Ballet, with their polite style and emphasis on purity of line, does not always make for the best interpreter of George Balanchine’s works. When asked what he looked for in his dancers, the Russian-American choreographer famously declared, “I don't want people who want to dance. I want people who have to dance.” This hunger is vital to perform his ballets, which require, among other attributes, speed, athleticism, attack, and an expansive use of space. "What are you saving it for? You might be dead tomorrow,” was another one of his well-known idioms, posed to dancers in hopes of inspiring more committed performances.
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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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