On a visit to Montevideo this summer I spoke with Julio Bocca, who told me about taking over the Ballet Nacional Sodre, why Argentine dancers are so go, and being an “hinchapelotas.”
Here’s my review of the Royal Ballet’s second program, consisting of Wayne McGregor’s “Infra,” Liam Scarlett’s “Age of Anxiety,” and a series of short excerpts. Plus a second view of the first program, with new casts in “The Dream” and “Song of the Earth.”
Misty Copeland had her long-awaited New York début in Swan Lake on June 24, with ABT. How did she do? Here’s my review, for DanceTabs.
And here’s my review of the Royal Ballet—visiting New York for the first time in 11 years— in a double-bill at the Koch. The two works were Ashton’s The Dream and Kenneth MacMillan’s Song of the Earth.
What is it with Swan Lake? There don’t see to be any good ones around. The Bolshoi’s version, currently being performed as part of the Lincoln Center Festival, is no exception. Here’s my review, for DanceTabs. And a short excerpt:
“What the company hasn’t brought this time around is any new choreography. It’s rather a disappointment. Instead, we get three of its most well-worn ballets – Swan Lake, Don Quixote, and Spartacus. It is even more disappointing that the troupe should open its run with a Swan Lake so lackluster that it fails to improve upon the two sub-par Swan Lakes we see here regularly, at ABT and at New York City Ballet.”
On Friday, New York City Ballet unveiled its first ballet by the young Briton Liam Scarlett, who, at 27, is considered one of the most promising new voices in ballet. The work is entitled “Acheron”—the name of a river in Greek mythology— and set to Poulenc’s Concerto in G for Organ, Strings, and Tympani, the same piece Glen Tetley used for his1973 ballet Voluntaries. You can read my review for DanceTabs here.
And here’s a short excerpt:
“The première of Acheron…revealed a choreographer of prodigious imagination and compositional craft, adept at building an atmosphere and suffusing it with traces of meaning. Though the ballet is abstract, without characters or a plot, an underlying theme coalesces by the end. With this deeper understanding, everything that comes before is bathed in a different hue. I’m eager to see it again, armed with this knowledge.”
I’d love to hear comments and thoughts from others who saw the ballet.
Enjoy your sunday—I hear Renée Fleming will be singing somewhere in Jersey tonight…
New York City Ballet went back to basics this week with its “Black and White” program. All Balanchine, all modernist ballets performed in pared-down leotards and tights: The Four Temperaments, Episodes, Duo Concertant, and Symphony in Three Movements. Here’s my review of the evening for DanceTabs.
And a short excerpt: “The program, a compilation of modernist ballets set to music by Webern, Hindemith, and Stravinsky that span three decades (1946-1972), is a kind of compendium of the choreographer’s most radical, game-changing esthetic. Its distinctive mix of courtliness, mystery, and eroticism still surprises. Not to mention its musical intelligence, which can make sense of a work as impenetrable – and as seemingly undanceable – as Anton Webern’s pointillist Opus 21 symphony.”
The “Black and White” program repeats on Sept. 28, Oct. 1, Oct. 4, and Oct. 13.