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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Early this week, the world of New York City Ballet was enlivened by the arrival of more than two hundred dancers, all former members of the troupe. The company is celebrating its 75th year of existence. Some of these dancers, like Robert Barnett, age 98, were there practically at the very beginning. Barnett joined in the company’s second season, in 1949, as did Barbara Bocher Henry, who signed up when she was only fourteen. The two were often partnered onstage in the four years they overlapped at the company. Both traveled to New York for the festivities.
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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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Even better!
While Barbara Bocher Henry was clearly a gifted strong technician, when asked to confirm Robert Barnett’s memory of her executing an unassisted arabesque promenade en pointe, she could not take credit. She could however do it unassisted on demi-pointe and once remembers doing 10 pirouettes en pointe at La Scala!