Asaf Messerer’s brief pas de deux, Spring Waters, was first seen in Australia around five decades ago when the Bolshoi Ballet visited the country. Then it was the most technically exciting pas de deux most people had ever seen. Now those high lifts with the man using just one arm to hold his partner aloft, and the sight of a
During July I posted only two items to this site, other than this update on my activities. The month has in fact been very busy as I have been deep in research on the career of designer Kristian Fredrikson. While I thought I was aware of the extent of his theatrical activity, I have been totally amazed at just how
A comment from a New York friend and colleague, whose much admired teacher at the School of American Ballet was Anatole Oboukhoff, along with some subsequent correspondence with Anna Northcote’s niece, have prompted me to post the image below. It shows Oboukhoff with Vera Nemchinova and the captain of the R. M. S. Kenilworth Castle, the ship on which the dancers
As Jack Anderson says in a recently published article, balletgoers love Giselle. It has been some time since I have seen this classic of the Romantic repertoire performed live, which I regret. Still very clear in my mind is the Finnish National Ballet’s production of Sylvie Guillem’s staging, which while not the most recent I have seen—it goes back to
Those who have been following posts on this site relating to Nina Verchinina may be interested in an article published in the most recent edition of Brolga: an Australia journal about dance (issue 34, June 2011). This elegantly written article, rather lengthily entitled ‘Designing for Nina Verchinina’s choreographic vivacity: a new light on Loudon Sainthill’s art’, is by Andrew Montana.
From Chunky Move, 24 June 2011: Anouk van Dijk as new Artistic Director The Board of Chunky Move today announced that Anouk van Dijk will take over as Artistic Director following Gideon Obarzanek’s departure at the end of 2011. Anouk van Dijk is an internationally acclaimed choreographer, whose work has toured extensively throughout her home country of The Netherlands, and far beyond throughout
The following schedules and lists from the 1934–1935 tour by the Dandré-Levitoff Russian Ballet are taken from my article ‘The Dandré-Levitoff Russian Ballet 1934–1935: Australia and beyond’ published in Dance Research (Edinburgh University Press), 29:1 Summer 2011. The information has been gathered from various sources including newspapers (advertisements and reviews) and programs. In particular the following newspapers provided useful information, The Argus
Most publicity related to the recent Paris Opera Ballet season of Anne Teresa de Keersmaeker’s Rain comments that the Belgian choreographer thought long and hard about having her work enter the repertoire of the Paris Opera Ballet. Would she or would she not agree to Brigitte Lefèvre’s request? Her vocabulary is just so different from that at the heart of
What treasures are still to be found in archival repositories around the world! Still on the trail of Olga Spessivtseva in Australia, I went through the process of gaining access to the archives of the museum and library of the Paris Opera, now part of the National Library of France. With formalities completed, I discovered, to my absolute delight, a
10 May 2011, Royal Opera House, Covent Garden Every time I visit London and am lucky enough to see a performance by the Royal Ballet I am bowled over. The recent mixed bill of Balanchine’s Ballo della regina, Wayne McGregor’s brand-new Live fire exercise and Christopher Wheeldon’s DGV (Danse à grande vitesse) simply reinforced my view that the Royal is