Spring Dances
It was a tri-polar night—but in a good way—last weekend, with a trio of high-energy, beautifully crafted works performed by the spectacular members of L.A. Dance Project.
Continua a leggereWorld-class review of ballet and dance.
San Francisco Ballet is riding high this season, cruising onward from a new works festival that yielded some real keepers; a “Giselle” freshly energized by new artistic director Tamara Rojo’s coaching; and a mixed bill that scored a hit with the stage premiere of Myles Thatcher’s youthful “Colorforms.” Recently retired artistic director Helgi Tomasson handled all this programming before he stepped down, and it was surely smart of him, box-office-wise, to schedule Christopher Wheeldon’s family friendly “Cinderella” to coincide with spring break. A packed Wednesday night house was clearly delighted by the whole spectacle. I regret, then, to confess an unpopular opinion: I find this “Cinderella” truly boring. But I saw it again to witness soloist Isabella DeVivo’s first chance at a star full-length role, and I’m glad I did.
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It was a tri-polar night—but in a good way—last weekend, with a trio of high-energy, beautifully crafted works performed by the spectacular members of L.A. Dance Project.
Continua a leggereOn a mild spring night, the New York City Ballet held a similarly temperate Gala performance. The flower arrangements were lovely, the speeches were okay, the two premieres weren’t bad, and the Balanchine excerpt was sturdy. In almost every way, it was an enjoyable—if not overly momentous—night at the ballet.
Continua a leggereSan Francisco Ballet artistic director Tamara Rojo may have taken on more drama than she bargained for programming a star-studded “Swan Lake” encore for the finale of her first season here.
Continua a leggereThe Flamenco Festival has been bringing Spain's greatest flamenco artists to New York City Center for twenty years.
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