A roller-coaster of diverse dance as ENB celebrates its 70th

Von Graham Watts, 19 Januar 2020

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“Whew! What a roller-coaster of diverse dance!”

Rezensierte Veranstaltung: The London Coliseum, London, am 17 Januar 2020

Études (Harald Lander)

The Three-Cornered Hat (Antonio Ruiz Soler)

Dust (Akram Khan)

Swansong (Christopher Bruce)

Of What’s to Come (Richard Bermange)

Apollo (Apollon musagète) (George Balanchine)

Romeo und Julia (The Dance of the Knights) (Rudolf Nureyev)

Giselle (Migration sequence) (Akram Khan)

Broken Wings (La Llorona pas de deux) (Annabelle Lopez Ochoa)

Who Cares? (Fascinatin’ Rhythm) (George Balanchine)

La Sylphide (August Bournonville)

The Sleeping Beauty (Marius Petipa, Sir Kenneth MacMillan)

Three Preludes (Ben Stevenson)

Carmen (Roland Petit)

Coppélia (Ronald Hynd)

Strictly Gershwin (Derek Deane)

Playlist (Track 1, 2) (Track 2) (William Forsythe)

English National Ballet

Gavin Sutherland, Musikalische Leitung

Sergio Bernal, Tanz

Erina Takahashi, Tanz

Fabian Reimair, Tanz

Jeffrey Cirio, Tanz

James Streeter, Tanz

Matthew Astley, Tanz

Francesco Gabriele Frola, Tanz

Alison McWhinney, Tanz

Skyler Martin, Tanz

Dominic Hickie, Tanz

Tamara Rojo, Tanz

Precious Adams, Tanz

Francesca Velicu, Tanz

Joseph Caley, Tanz

Joshua McSherry-Gray, Tanz

Daniel McCormick, Tanz

Fernanda Oliveira, Tanz

Junor Souza, Tanz

Shiori Kase, Tanz

Brooklyn Mack, Tanz

Isaac Hernández, Tanz

English National Ballet School

English National Ballet Philharmonic

National Ballet of Japan’s new triple bill is full of bold challenges

Naomi Mori, 15th March

While National Ballet of Japan’s latest triple bill presents many challenges, one hopes these valuable masterpieces will be revived, enabling the company to develop its virtuosity and artistry.

****1

American Ballet Theatre: Kyle Abraham's Mercurial Son disappoints

Ivy Lin, 16th October

Bond’s La Boutique was delightful, Abraham’s Mercurial Son, a little disappointing but Lander's Études sent the audience home happy.

****1

Études/Circle Electric: The Australian Ballet in contrasting works

Katie Lawrence, 4th May

The Australian Ballet presents a diverse double bill of contemporary and classical dance, including its first major work from choreographer in residence Stephanie Lake. Unfortunately, only the classical piece exhilarates.

***11

He's not nice, he's amazing: ABT's Fall season opener

Ivy Lin, 18th October

A strong opening to ABT’s fall season, the company often seemed stagnant in the last years of Kevin McKenzie’s directorship. It is now more exciting. New leadership, new faces.

****1

L'hommage vibrant de l'Opéra de Paris à Patrick Dupond

Laurine Mortha, 23rd February

Deux ans après le décès de Patrick Dupond, l'hommage prit la forme d'une somptueuse soirée de gala, avec le défilé du Ballet et l'interprétation de trois œuvres emblématiques du parcours du danseur.

*****

Philosophy amid movement in San Francisco Ballet’s Dance Innovations

Terez Rose, 13th February

The ballet culminates with fouettés, bravura leaps from the oversized ensemble and a rousing finish with all 44 dancers onstage. It was an exuberant end to an intelligent, satisfying production, both of thought and movement.

****1

Weitere Kritiken...

Graham Watts

Graham Watts is a freelance dance writer and critic writing regularly for Dancing Times, Dance Europe, Danza Europa, and many more publications. He regularly writes features for Sadler’s Wells, London Coliseum and La Scala. Chairman of the Dance Section of the Critics’ Circle in the United Kingdom and of the UK National Dance Awards he has interviewed many of the greatest names in dance including Maya Plisetskaya, Vladimir Vasiliev, Boris Eifman, Alexei Ratmansky, Andris Liepa, Sir Peter Wright, David Bintley and Dame Gillian Lynne. When not involved in dance Graham is a keen fencer, and has captained the British Sabre team.

A roller-coaster of diverse dance as English National Ballet celebrates its 70th anniversary