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Performances in the U.S.A.


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11 hours ago, Douglas Allen said:

Thanks for this posting. It's the best and most balanced summary of the Fall season I've seen. Your comments are really appreciated  and the video of de Luz' final curtain is memorable (not forgetting the useful voice-over when his mother appeared!).

 

Thank you! It really was a wonderful farewell.

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Wow - congratulations Ivy Lin, and lucky Bachtrack!

 

I meant to reply about how much I enjoyed reading your NYCB review a couple of weeks ago a really honest review of what sounds like a mixed bag of performances. The Kyle Abraham ballet looks terrific from that clip (and I speak as one with zero knowledge or appreciation of hip-hop). Completely agree - from what I heard - about the Sufjan Stevens score for the Peck, which is somehow offensively bland. 

 

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41 minutes ago, Lizbie1 said:

Wow - congratulations Ivy Lin, and lucky Bachtrack!

 

I meant to reply about how much I enjoyed reading your NYCB review a couple of weeks ago a really honest review of what sounds like a mixed bag of performances. The Kyle Abraham ballet looks terrific from that clip (and I speak as one with zero knowledge or appreciation of hip-hop). Completely agree - from what I heard - about the Sufjan Stevens score for the Peck, which is somehow offensively bland. 

 

 

Thank you! I'm still going to be reviewing dance on my blog simply because I see more dance than I can cover in single performances but I'm really excited for this new gig at bachtrack!

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Oh - one very frivolous question I have about the Peck is: what’s with the tights-over-leotard look? I get that it’s a “rehearsal clothes” thing, but it seems to be particularly popular at NYCB, or at least that’s my perception. (I can’t say I’m an admirer.)

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8 minutes ago, Lizbie1 said:

Oh - one very frivolous question I have about the Peck is: what’s with the tights-over-leotard look? I get that it’s a “rehearsal clothes” thing, but it seems to be particularly popular at NYCB, or at least that’s my perception. (I can’t say I’m an admirer.)

 

I think it's a practice clothes thing but it became an actual costume in Peck's new work. I've never seen it this way in an actual costume. Balanchine probably would have been appalled -- he was such a fan of the clean leotard look.

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I should clarify that I meant this look seems particularly in vogue as practice clothes at NYCB: I can only recall seeing it once in photos of class/rehearsals at the RB but quite often at NYCB.

 

 I suppose it’s just what the cool kids there do? 

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Ivy Lin, are you intending to go to Houston to review the new Sylvia? Seems like a lot of fun. And it's not every day that this ballet is revived especially in the USA. I think Mark Morris's version was the last but I don't know whether it has ever been revived.

 

I saw the livestream of the new Vienna production last year but it didn't appeal to me.

 

Keep up the good work!

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6 hours ago, stucha said:

Ivy Lin, are you intending to go to Houston to review the new Sylvia? Seems like a lot of fun. And it's not every day that this ballet is revived especially in the USA. I think Mark Morris's version was the last but I don't know whether it has ever been revived.

 

I saw the livestream of the new Vienna production last year but it didn't appeal to me.

 

Keep up the good work!

 

No but I am thinking of going to Philly to review PABallet's new Giselle production.

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I;ve got a new bachtrack article!

https://bachtrack.com/review-all-balanchine-new-york-city-ballet-lincoln-center-february-2019

 

I also did  a wrapup of the Winter Season which had sme backstage drama and finally the appointment of permanent leaders at NYCB:

https://humbledandoverwhelmed.blogspot.com/2019/03/a-review-of-nycb-at-bachtrack-winter.html

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No one is obliged to admire MacMillan or treat his works as if they were the culmination of twentieth century choreographic developments or him as the greatest choreographer who ever trod earth. There are those who think that most of his works are overrated and Lewis Segal would appear to be one of them. He does after all have the benefit of living in a country where he is not exposed to annual revivals of MacMillan's three act dram-ballets or subject to the influence of the institutionalised cult of Kenneth MacMillan master choreographer.

 

I tend to think that the Royal Ballet's neglect of Antony Tudor's major early works has little to do with the fact that they were made for Ballet Rambert and a great deal to do with the fact that MacMillan's works would suffer in comparison. If you compare Tudor's Jardin aux Lilas and Dark Elegies or his later work Pillar of Fire with MacMillan's output Tudor is a master of succinct narrative and subtle characterisation where Macmillan tends to be long winded,resorting to complex Bolshoi-style lifts where Tudor would say it all with a glance , a shift of the head and natural body language integrated into his choreography.

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