A Parisian Dream
A participatory eagerness, a desire to be part of something sweet and beautiful, suffused the return of George Balanchine’s “A Midsummer Night’s Dream” to San Francisco Ballet on the cusp of spring.
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Usually based in Melbourne, the Australian Ballet is currently residing at the Sydney Opera House for the first of two Sydney seasons this year. They have premiered two ambitious works: first delivering a month-long season of Stephen Baynes’ “Swan Lake,” followed by “Vitesse,” a triple bill of contemporary works, including William Forsythe’s “In the Middle, Somewhat Elevated.” In the very same week of “Vitesse’s” premiere, the Australian Ballet gave us “Symphony in C,” an evening of divertissements followed by George Balanchine's stunning ballet from 1947, lending its name to the programme. For the third opening night within a month, I’m sure it wasn’t just me who wondered whether this was going to be a somewhat weary company performing what looked to be an ambitious assortment of work.
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Kevin Jackson, Vivienne Wong and Rudy Hawkes in “Little Atlas” by Alice Topp. Photograph by Daniel Boud
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A participatory eagerness, a desire to be part of something sweet and beautiful, suffused the return of George Balanchine’s “A Midsummer Night’s Dream” to San Francisco Ballet on the cusp of spring.
Continue ReadingEntering his 10th year as artistic director of Philadelphia Ballet, Ángel Corella put his artists through a ring of fire in their early spring concert at the Academy of Music.
Continue ReadingIn her 1951 autobiography Dance to the Piper, Agnes de Mille spends seven pages describing in colorful detail what it was like to be on the road with the Ballets Russes.
FREE ARTICLESix dancers enter from stage left and position themselves along the rear wall, their backs to the audience. Today, the light through a row of windows casts them in silhouette.
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