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.”
“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.
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.
You can read my review of the Mariinsky’s all Chopin, all piano triple bill, for DanceTabs, here.
I think it’s safe to say that no-one dances Don Quixote like the Bolshoi. The ballet is shallow, it’s showy, but, particularly in the first act, its exuberance is a kind of paean to the art form itself, the joy of the stage, the stirring effect of dozens of bodies moving with the kind of amplitude and produced by years and years of training. Here’s my review of one of the Bolshoi casts, for DanceTabs.
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.”
Last week, ABT had company at Lincoln Center, with Boston Ballet celebrating its fiftieth season across the way at the former State Theatre. Their programs could not have been more different. ABT gave a week’s worth of performances of its tired production of Swan Lake; each year it becomes more clear that it is time for this un-enlightening staging to go. Because of a last minute casting change, I saw Hee Seo and Roberto Bolle in the leads, and reviewed them here.
Meanwhile, Boston Ballet offered eclectic mixed bills—very mixed. I reviewed the second, which included works by Balanchine—a very strong Symphony in Three Movements—and Jiri Kylian (the highly theatrical Bella Figura).