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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In early April, the Australian Ballet returned to the main stage of the Sydney Opera House for the first time in over a year. Like companies the world over, they were on hiatus while the pandemic raged. With Australia now essentially Covid-free, the company returns to a packed house, and a “new era.” In 2020, former American Ballet Theatre star David Hallberg took over from longtime artistic director David McAllister, and this is his Sydney debut. The programme throws back to Hallberg's roots, a triple bill called “New York Dialects.”
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Dimity Azoury and artists of the Australian Ballet in “Serenade” by George Balanchine. 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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