Carla writes about the arts for various publications including Bachtrack, KQED Arts (the northern California public media broadcaster) and ballettothepeople. In previous lives, Carla worked in scientific research, in project finance in Asia, and taught ballet in San Francisco. Prior to that, she trained as a ballet and modern dancer, and performed with the Yaledancers while getting her undergraduate degrees in Engineering and Applied Science and French Literature, and her graduate degree in Engineering.
Billed as a Black, gay fairytale set in a nightclub, this collaboration between serpentwithfeet, poet Donte Collins, choreographer Raja Feather Kelly and director Wu Tsang is a joyful fable.
Several important firsts at New York City Ballet: two female choreographers; the first black female choreographer; the first collaboration between a female choreographer and female composer. But the longstanding practice of pairing choreographers with fashion designers continues to prove problematic.
To celebrate its return to the theatre after lockdown, New York City Ballet pulled out all the stops with a triple bill of Balanchine's Serenade and Symphony in C and Wheeldon's After the Rain. The house went wild.
Alexei Ratmansky draws out exceptional individual qualities of each of five ballerinas in his intriguing world premiere for New York City Ballet, set to spoken word and live piano.
A sharp, well-drilled ensemble and heavenly Fauré, Stravinsky and Tchaikovsky couldn't adequately compensate for the mixed bag of principal performances and the outdated look of Balanchine's Jewels at New York City Ballet.
18 years ago, Mezzacappa left New York City, for San Francisco. She has since become a pillar of the vibrant Bay Area new music community, fronting several ensembles and collaborating with adventurous artists on highly original work.
Ballets live and die by their scores – as Balanchine knew when he kept returning to Stravinsky. His Symphony in Three Movements will live forever, as will Justin Peck's The Times are Racing, to Dan Deacon's America.
Modern dance choreographer Pam Tanowitz' first commission for New York City Ballet proved unruly yet fascinating, sandwiched between George Balanchine's enduring Valse-Fantaisie and Western Symphony.
Maria Kowroski and Tyler Angle at the top of their game in Diamonds. A smoking performance from Sara Mearns in Slaughter on 10th Avenue. Strong debuts from Emma Von Enck and Taylor Stanley and a memorable classical turn by Aaron Sanz in the Barber.
Over the last five years, 115 of New York City's dance artists have found a haven in the vast city university system known as CUNY. 11 of them shared the stage to celebrate the CUNY Dance Initiative's 5th anniversary.
Pennsylvania Ballet kicks off the season with its first Giselle since Angel Corella took over the artistic directorship five years ago. A cast dominated by soloists and corps more than did it justice.
Among the standouts at the San Francisco Ballet gala evening performance were Ana Sophia Scheller in Rubies, Sasha De Sola in Études, Benjamin Freemantle in Agon, and Misa Kuranaga and Angelo Greco in Handel-A Celebration.
Benjamin Freemantle, newly minted soloist at San Francisco Ballet, tells us about some memorable roles, about his ventures into choreography, and how he's trying to make a difference.
As City Ballet grapples with lawsuits and lurid accusations, and the loss of an unprecendented number of male principals, new works by Kyle Abraham, Gianna Reisen, and Matthew Neenan stoke inspired performances from the dancers.
Stellar voices and orcheatra and some inspired staging choices elevate an otherwise heavy-handed production of Pelléas et Mélisande from the WNO at the Hong Kong Arts Festival.
