Musicians and dancers unite for Ravenna’s reimagined dance event

Von Sarah Kirkup, 21 Juli 2020

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Veranstaltung anzeigen

“Marchand revelled in the rhythmic twists and turns of Bach’s music”

Rezensierte Veranstaltung: Rocca Brancaleone, Ravenna, am 18 Juli 2020

Tanzsuite (Jerome Robbins)

Ssss... (Edward Clug)

Zapateado (Sergio Bernal)

Der sterbende Schwan (Mikhail Fokine)

Thaïs: pas de deux (Roland Petit)

Nocturnes (John Neumeier)

Sonata (Uwe Scholz)

Beatrice Rana, Klavier

Mario Brunello, Cello

Silvia Azzoni, Tanz

Sergio Bernal, Tanz

Hugo Marchand, Tanz

Matteo Miccini, Tanz

Alexandre Ryabko, Tanz

Iana Salenko, Tanz

Marian Walter, Tanz

Viel Vergangenheit: Liebeslieder am Wiener Staatsballett

Rainer Zerbst, 14th January

Von Brahms und Balanchine bis Górecki und Childs: das Wiener Staatsballet zeigt einen zeitlosen Abend.

****1

Tiler Peck's Symphonie Espagnole for NYCB is sprawling and ambitious

Ivy Lin, 9th May

A triple bill including Tiler Peck’s newest ballet for NYCB, does not entirely work. Too much blue light and sadness for one program.

***11

Understatement and spectacle at New York City Ballet

Carla Escoda, 26th February

Jerome Robbins' Dances at a Gathering and George Balanchine's Diamonds make a study in contrasts. With lots of debuts in the former and seasoned leads in the latter.

*****

Irresistible: Justin Peck’s The Wind-Up premieres at NYCB

Carla Escoda, 29th January

Never has Justin Peck seemed more compositionally assured, and paradoxically freer, than in his latest ballet, breaking the mold of past work that mostly celebrated the camaraderie of his generation.

****1

Dutch National Ballet's opener in New York: meandering and unfocused

Ivy Lin, 20th November

Dutch National Ballet returning to New York after more than 40 years should have been thrilling. The opening program, whilst beautifully danced, was somewhat muted.

***11

London City Ballet at the Linbury: joy and sorrow at its best

Deborah Weiss, 19th November

London City Ballet move into a new venue with absolute confidence and gravitas in a quadruple bill that says everything about their future and success.

*****

Weitere Kritiken...

Sarah Kirkup

Sarah Kirkup has been Deputy Editor of Gramophone since 2010. She also writes for publications including the Royal Opera House’s in-house magazine and programmes for The Royal Ballet, and reviews dance events for cross-arts online magazine The Cusp. She is particularly interested in the relationship between music and dance, and has spoken on this subject at panel discussions, talks and events.

Duets and Solos: Musicians and dancers unite for Ravenna Festival’s reimagined dance event