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.”
I’m in Rome for a few weeks with my husband, who is singing at the opera here. (This explains why I haven’t been reviewing the ballet season in NYC!) I was lucky enough to have the chance to see Sleeping Beauty at the Rome Opera Ballet, with Jurgita Dronina of the Het National in the role of Aurora. It was a solid performance; not mind-blowing, but well-danced throughout. I had some doubts about Paul Chalmer’s production. It’s a bit vague, short on mime, and rather lacking in characterization. You can read my review, for DanceTabs, here.
As part of the spiritually-minded “White Light” festival at Lincoln Center, the Mark Morris Dance Group is performing Morris’s L’Allegro, Il Penseroso ed il Moderato, from 1988. The ebullient work is spiritual in the best sense: it lifts the spirit. Made in the first year of the company’s residence at La Monnaie opera house in Brussels, it reflects the choreographer’s delight at the resources at his command: a spacious stage, singers, full orchestra, endless rehearsal time. Twenty-five years later, it still feels fresh. Here’s my review, for DanceTabs.
And a short excerpt: “Throughout the piece, the mood and focus shifts from darkness to light, from the joys of nature to the hubbub of urban life, from animal instinct to human folly, architecture to philosophy. In one of the dance’s most blissful passages, set to the poem “As Steals the Morn Upon the Night,” ribbons of dancers trace lines across the stage….The rhythm of their motion remains steady. We feel implicated in the dance.”