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.”
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.
This time of year, it’s hard to keep up with the goings-on in the dance world (particularly ballet). Here is a round-up of recent performances and news:
1. Herman Cornejo and Evgenia Obraztsova performed a touching rendition of Romeo and Juliet at the Met. It was Obraztsova’s début with the company—here’s hoping this new partnership will blossom in coming seasons. Here is a link to my review, for DanceTabs.
2. New York Theatre Ballet, alias “the little company that could,” held its first season in the sanctuary at St. Mark’s Church, its new home. On the program were works by Frederick Ashton, Richard Alston, David Parker, Antony Tudor, and the young choreographer Gemma Bond. The space fits the company beautifully, and the inclusion of live music (piano and voice) made all the difference. Here’s a link to my review, for DanceTabs.
3. The Alvin Ailey American Dance Theater closed out the season with a Rennie Harris’s moving Exodus (new this season), Robert Battle’s No Longer Silent (a company première), and, of course Revelations. Here’s my review, for DanceTabs.
4. And finally, Julie Kent gave her final performance with ABT, a finely-etched portrait of Juliet in the well-loved Kenneth MacMillan production. As always with this thinking ballerina, every detail was beautifully distinct. It is difficult to imagine works like A Month in the Country without her.
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.”
A year ago I got to meet one of my childhood idols, Mikhail Baryshnikov, and interview him about his art collection. My heart stopped a little bit each time he opened his mouth to say something. It was, and still is, a highlight of my writing life. Here’s the piece that came out of that conversation.
And one of my favorite works from his collection, Nikolai Lapshin’s Novgorod.
The San Francisco Ballet ended its run with a week of performances of Christopher Wheeldon’s new Cinderella. As I write in this review for DanceTabs, it’s a handsome work, but not completely satisfying dramatically. The designs, by Julian Crouch, are supremely elegant, as is Wheeldon’s choreography. But Prokoviev’s score is tricky and episodic, and the ballet doesn’t manage to transcend these difficulties or really touch the heart. Still, it’s a great showcase for the company’s strong, polished dancers.
Program two included works by Mark Morris (Beaux), Alexei Ratmansky (From Foreign Lands), Edwaard Liang (Symphonic Dances) and Yuri Possokhov (Classical Symphony). Thinking about it, I realize that both Beaux and From Foreign Lands represent the un-Wayne McGregor: subtle, quiet, deceptively laid back. They invite you into their world and encourage you to lean in rather than overwhelm you with virtuosity and visual stimulation. Perhaps for this very reason, they did not elicit much response from the audience. Applause was polite at best. But they were the heart of the evening.