“Honestly, I just can’t stand seeing productions of the classics any more, because I know how far it is from Petipa’s intentions,” Alexei Ratmansky told me a few months back, when we began discussing preparations for his new Sleeping Beauty, based largely on his interpretation of historical sources. He said many other things too. You’ll find them here, in this extensive q&a.
Last night was the première of Alexei Ratmansky’s new “Pictures at an Exhibition”—yes, set to that score—for New York City Ballet. And it’s a good one. You can read my review for DanceTabs here.
And here’s a short excerpt: “At the risk of sounding like a broken record, is there a ballet choreographer working today who is more imaginative, more wholly himself, than Alexei Ratmansky? The images that music awakens in him are often weirdly unexpected, and yet one is so thoroughly drawn into the worlds he creates onstage that surprise quickly turns into a kind of amazed fascination.”
I’m just back from the Ashton festival at Sarasota Ballet, a four-day tribute to the choreographer. Under the directorship of Iain Webb, the company has been undergoing a major expansion over the past few years. By any measure, the festival was a big success, with strong performances, expressive dancing, and a powerful sense of style and common purpose.
And a short excerpt: “The advantage of putting all these ballets on the stage in quick succession is that the audience begins to see all sorts of interconnections and motifs running through the works. Thus, in Monotones II (1965), there is an echo of the slow trio near the beginning of Valses Nobles et Sentimentales, in which a woman is slowly revolved by two men and shown from all angles, the center of a slow-moving planetary system.”
On June 27, I saw “A Dancer’s Dream,” at the new York Philharmonic. The program was a collaboration between the orchestra and the production company Giants Are Small and included two Stravinsky ballets (Baiser de la Fée and Petrushka) and a piece for piano four hands by Louis Durey. Sara Mearns and Amar Ramasar, of New York City Ballet, performed, amid puppets, projections, and cameos by the orchestra players. And while the concept didn’t completely work (especially in Baiser), the rendition of Petrushka was so vibrant that the evening came alive. Here’s a link to my review, for DanceTabs.”Toy toboggans careened down miniature mountains, onion domes danced, a Russian toy chicken pecked its wooden platform…The musicians too got in on the action, performing little cameos for the camera (like drinking tea from a samovar). At one point, a violinist lay down her instrument and proceeded to juggle colored scarves, perfectly on the beat, and did a Russian dance to boot.”