Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Merce Cunningham

The NYCB dancers are very at-home in this idiom, and they threw themselves wholeheartedly into this ballet. It was never less than watchable, but the music cried out for more avante-garde choreography than Peck provided.

Le Festival d’Automne 2019 propose un dernier spectacle centré sur la figure de Merce Cunningham avec le Ballet de l’Opéra de Lyon, comprenant une œuvre psychédélique d'Alessandro Sciarroni.

Amala Dianor and CNN Ballet de Lorraine channel the US choreographer in two UK premieres and a Cunningham classic, all brilliantly performed.

Merce Cunningham est mis à l'honneur par le Festival d'Automne. À Chaillot, le CCN Ballet de Lorraine et ses directeurs, Petter Jacobsson et Thomas Caley, rendent un bel hommage au chorégraphe américain.  

A brief but innovative tribute to the lasting influence of Merce Cunningham in the Linbury Theatre

Judging by the enthusiastic audience reactions to this program one might have to rethink the modern/ballet divide. Maybe there’s only two types of dance – good dance and bad dance. 

Despite the uneven performances, the evening offered a painful reminder: the future of Cunningham's opus is fragile and delicate. With his own company disbanded, his future is in the hands of dancers who are not trained in his technique and did not have the good fortune of working directly with the great choreographer.

This opener to a unique tri-city, same-day event celebrating Cunningham's centenary was a magical and tranquil collage.  

Ivan Talijancic shares his observations in conjunction with Stephen Petronio Company's 30th anniversary engagement at The Joyce Theater in New York City.

Rambert’s SUB is an intense and visceral exploration of male physicality. Seven male dancers push their bodies to the limit performing Itzik Galili’s choreography with amazing energy. Lit from above in pools of light, bodies appear from the shadows, create new images, and disappear like phantoms.

More and more museums and galleries are opening their doors to dance. Even though performance is nothing new in art galleries, which sometimes feature them as independent artworks or as opening/closing events for exhibitions, dance is increasingly entering the exhibition circuit in the role of preserved art object.

In the opening night of its short Autumn season at Sadler’s Wells, Rambert Dance Company presented a mixed bill that comprised four attractive works. Introducing a brand new piece by Irish choreographer Marguerite Donlon, the programme also included three revivals from acclaimed choreographers Paul Taylor, Merce Cunningham and Richard Alston.