Dance
Obsidian Tear / Marguerite and Armand / Elite Syncopations, Royal Opera House review - an evening of high-performance mismatchMonday, 16 April 2018
One day someone will come up with an algorithm for the perfectly balanced triple bill. Until then ballet directors will have to make do with hit or miss. The Royal Ballet’s latest three-part offering would appear to tick the boxes: something old,... Read more... |
Voices of America, English National Ballet review - a punchy programme of contemporary balletSaturday, 14 April 2018
A new William Forsythe ballet is quite a coup for English National Ballet; the choreographer hasn't made a piece in Britain in 20 years. Premiered last night as part of ENB's Voices of America triple bill at Sadler's Wells, Forsythe's Playlist (... Read more... |
Classical CDs Weekly: Lūcija Garūta, Dag Wirén, Ruby HughesSaturday, 31 March 2018
Lūcija Garūta: Music for Piano Reinis Zariņš (piano), Liepāja Symphony Orchestra/Atvars Lakstīgala (LMIC/SKANI)The Latvian composer Lūcija Garūta (1902-1977) reached maturity in the early days of Latvian independence, a supremely talented... Read more... |
Manon, Royal Ballet review - glitter and betrayFriday, 30 March 2018
"Massenet feels it as a Frenchman, with powder and minuets," declared Puccini in annoucing his own operatic setting of the Abbé Prévost's 1731 novel Manon Lescaut. "I shall feel it as an Italian, with desperate passion." That's the usual Kenneth... Read more... |
Sutra, Sadler’s Wells review – a masterpiece 10 years onWednesday, 28 March 2018
Sutra is back, 10 years after its premier at Sadler’s Wells. This is, in fact, the fourth time it has returned to London and such is the amazing popularity of this beguiling show that, in the past decade, it has been performed more than 200 times in... Read more... |
Richard Alston, Mid Century Modern, Sadler's Wells review - a master choreographer clocks up 50 yearsMonday, 26 March 2018
It took Richard Alston 10 years to start making dances to music. Until the late Seventies he preferred silence, or a Rolodex of scores that he swapped and switched. In this you might say he was a typical product of the time. The fact is more... Read more... |
Sir Matthew Bourne remembers Scott Ambler 1960-2018 – 'A prince among men'Thursday, 22 March 2018
Nobody deserves the title of New Adventures “legend” more than Scott Ambler; nobody is remembered more affectionately – the generosity of spirit, the many kindnesses, the fierce loyalty, the tears of pride in company notes sessions, the endearing... Read more... |
Bernstein triple bill, Royal Ballet review - epic ambitions unfulfilledFriday, 16 March 2018
The Royal Ballet last night presented an evening of Bernstein-scored ballets, two of them premieres by Wayne McGregor and Christopher Wheeldon and the other a revival of Liam Scarlett's 2014 Age of Anxiety. Celebrated and accessible composer;... Read more... |
Macbeth, Wilton's Music Hall review - incisive and thrilling dance theatreThursday, 01 March 2018
There’s more than a touch of vaunting ambition in the idea of turning the Scottish Play into dance theatre. Without spoken text, named scenes or even a printed synopsis, it falls to choreography and direction to speak for them all. Thus the most... Read more... |
Giselle, Royal Ballet review - beautiful dancing in a production of classic good tasteSaturday, 20 January 2018
The run of Giselle that opened at the Royal Opera House last night was completely sold out before it even started, and no wonder. Pair Sir Peter Wright's eerie production with some very fine casts and the reliable classiness of the Royal Ballet's... Read more... |
Song of the Earth/La Sylphide, English National Ballet review - sincerity and charm in a rewarding double billThursday, 11 January 2018
The unifying theme of this new Coliseum double bill is death, but don’t let that put you off. Kenneth MacMillan’s Song of the Earth and August Bournonville’s La Sylphide may seem like odd bedfellows, but both are a great deal more uplifting than... Read more... |
Best of 2017: DanceSaturday, 30 December 2017
With forelock-tugging celebrations of a choreographer who died 25 years ago and a summer visit by the Mariinsky the highest-profile events in the calendar, 2017 may not be remembered as a vintage year for British dance. But there were striking... Read more... |
