Stuttgart Ballet: Novitzky/Dawson
It may be abstract in the sense of being non-narrative… but Dawson’s choreography and the company’s dancing reached inside and touched the soul
It may be abstract in the sense of being non-narrative… but Dawson’s choreography and the company’s dancing reached inside and touched the soul
The varied programme of mostly excerpts from longer pieces delighted the enthusiastic audience on a summery Sunday evening
This performance of Patrice Bart’s Giselle was special in that it saw Ksenia Ovsyanick dance the lead role for the last time
The three pieces are about the death of woman, the extinction of a whole society and a world in which people seem closed in on themselves
A well-balanced programme of quality dance – the visit of 92-year-old Hans van Manen and a rapturously received premiere from Mthuthuzeli November
The nine performers were absolutely fabulous. They were in complete command of every physical expression
Ines McIntosh carried the performance… She never faltered, blending French elegance with something rarer on the Parisian stage: fire
Hortense Millet-Maurin, a tiny spitfire of a dancer who has a deft touch with comedy and big eloquent eyes, was a witty Lise.
“My way into the white world of ballet,” well summarizes his story but the biography… also gives a rare insight into what it means to be a dancer
La Bayadère is a fairytale, which the Bayerisches Staatsballett turn into big drama. But the company does not ignore the problems the ballet has
The bored middle-class housewife is raised to literary heights by the novel’s rich romantic language and Spuck follows suit in high choreographic art