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California Literary Review » ballet California Literary Review

San Francisco Ballet Presents Criss-Cross, Francesca da Rimini and Symphony in Three Movements

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Toba
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Singer

May 2nd, 2013

Vilanoba leads Zahorian in a promenade on bent knee. They exchange coy glances, and one surmises that the charged exchange is more about Vilanoba’s last moments onstage than the choreography. From plié he places a straightened leg behind her. He weaves over and under her extension, teasing out elements of quieting mime in an otherwise equine-inflected piece to rich orchestration studded with kettledrum and slide trombone embellishments.

San Francisco Ballet Offers Raymonda Act III, Ibsen’s House and Symphonic Dances

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Singer

April 26th, 2013

It was a pleasure to see such a splendidly danced and produced Rudolf Nureyev version of Act III of Marius Petipa’s Raymonda. Nureyev challenged the dancers to aim for a perfectly stylized and detailed result, and they joined forces to sign, seal and deliver it in keeping with Nureyev’s demanding expectations.

Dance Review: Onegin, Performed by the San Francisco Ballet

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Singer

April 2nd, 2013

It is as if this pas de deux was made so that Onegin could teach Tatiana to fly. She follows in the wake of the shapes he models. They offer her courage, and as he lifts her, for the first time, she holds her horizontal position with the directness of an arrow.

San Francisco Ballet Offers Scotch Symphony, Within the Golden Hour and From Foreign Lands

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Singer

March 22nd, 2013

One of the benefits of having enrolled in San Francisco Ballet’s Ballet 101, a six-part course aimed at developing a deeper appreciation of ballet among audiences, was gaining a more precise fix on George Balanchine’s Scotch Symphony. Not only did the course offer a comparison between it and August Bournonville’s La Sylphide, but we had a chance to put on our practice slippers in a rehearsal studio, and learn a snippet of choreography that soloist dancer Courtney Elizabeth dances in the piece.

San Francisco Ballet Presents The Rite of Spring, Beaux and Guide To Strange Places

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Singer

March 14th, 2013

At the first sensual strains of a bassoon made to sound like an archaic oboe in the Igor Stravinsky Sacre de printemps score, dancers begin to differentiate themselves from the mound they appeared to be half buried by. Heads, eyes, then bodies become perceptible as lighting by Sandra Woodall extrudes more humanoid clues, and the deepening tones of the woodwinds transport us to an earlier time in a sylvan setting.

San Francisco Ballet Offers Suite en blanc, Borderlands and In the Night

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Singer

February 25th, 2013

Suite en blanc is a work plucked out of the archival past, cut and pasted onto today’s stage so that we may glimpse the oddest of baby steps taken toward breaking with convention in the name of purity. Arguments for and against tend to sidestep the nagging and disturbing fact that the modernist who birthed them provokes our outrage because his fascination with purity led him, eyes open, into the reactionary political camp of racial “purity,” the kissing cousin of The Final Solution.

Interview with Maina Gielgud

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Singer

February 24th, 2013

Natalia Osipova’s first Giselles in London are for me unforgettable… All the steps are there, and I could agree if it were someone who was less of a genius, that they were not in the Romantic style, but I have my own ideas. She just gave you Giselle’s soul on a platter; I can’t think of it without being in tears. You believe in what she does. She takes the majority of the audience with her. It was the specialists who were revolted.

Dance Review: Hamburg Ballet’s Nijinsky

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Singer

February 18th, 2013

Moments of stillness offer the only pauses in the unrelenting choreography that Neumeier devotes to telling a story that is in equal parts the history, illusion, delusion, social commentary, creative epiphany, intimacies and betrayals of the dancer whose stratospheric jumps descended into a mania that consigned him to an asylum.

Diablo Ballet Crowdsources Ideas for a New Ballet

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Geri
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Jeter

February 18th, 2013

“My biggest surprise, though, has been the level of creativity. People are really thinking out of the box, and we love it! For example, suggestions range from setting the ballet in an antique store to one based on the evolution of the Dodo Bird! It’s great how people are embracing that we have no limits.”

Review: Hubbard Street Dance Chicago and Alonzo King LINES Ballet

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Singer

February 6th, 2013

little mortal jump, by Hubbard Street’s Alejandro Cerrudo, was the evening’s ingenious piece de résistance. Artistic directors everywhere should give this young innovator a call!

Dance Review: Joffrey Ballet

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Singer

January 31st, 2013

The courage of this company is a reminder that art has a role to play not only in re-enacting the artifice of past pleasures, but also awakening us to the real horrors of the present.

2013 San Francisco Ballet Gala

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Singer

January 29th, 2013

Maria Kochetkova and Vitor Luiz capture the thrill in the dream pas de deux from John Cranko’s Onegin. The duet carries into the ballet the titillating but terrifying complications and implications of a love that arrives post-maturely, offering both too much and too little. Luiz appears in the magical mirror that suddenly opens a window of opportunity, and Kochetkova comes to him like a lost kitten. Their fluidity in the three arabesque lift-turns float her deeper into her joyful illusion. To me, this is one of the most beautiful pas de deux in ballet, offering an equality of expression to both partners to which each must contribute fully and blissfully in order for it to succeed.

Dance Review: Matthew Bourne’s Sleeping Beauty, Sadler’s Wells Theatre, London

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Jem
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Bloomfield

January 4th, 2013

Matthew Bourne’s Sleeping Beauty is an astonishing work. Witty, trashy, sexy and unsettling, it rewrites the classic narrative to produce a ballet which asks questions about our attitudes to gender, to our own past, and to the way we consume art.

Dance Review: San Francisco Ballet’s Nutcracker

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Singer

December 13th, 2012

Instead of whipping out a small nutcracker that Drosselmeyer later makes big, the nutcracker should be at least as dramatic in its appearance as Drosselmeyer himself, so that the child from Pacific Heights in the third row, dressed in velvet togs from a Sacramento Street boutique, isn’t tempted to think, “Big deal—I’ve got a better nutcracker at home!”

Diablo Ballet’s Newest Member and Comeback Kid, Aaron Orza

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Singer

November 23rd, 2012

I would say that compared to the what the women face, competition is not so ruthless for men. We are all in it more for each other, a positive, friendly competition thing. That is how I was trained to view it by my teacher at San Francisco Ballet, Jorge Esquivel.

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