Staatsballett Berlin: Symphony in C, Fearful Symmetries
The formal beauty, purity and technical virtuosity of Balanchine, and the constant state of flux and harmonious chaos of Christian Spuck’s new creation
The formal beauty, purity and technical virtuosity of Balanchine, and the constant state of flux and harmonious chaos of Christian Spuck’s new creation
From George Balanchine’s Serenade to Xie Xin’s The Moon in the Ocean, via Marcos Morau’s Totentanz and Angelin Preljiocaj’s Annonciation.
Closing the evening, Balanchine’s uplifting Theme and Variations looked in fine shape… a celebration of Russian classicism
An evening of thirteen short works and excerpts, moving between heritage repertoire, 20th-century classics, contemporary choreography and creations
The choreographic mix, emerging dancers alongside dancing stars, is what makes Ballet Nights a unique experience… the dancing was an absolute joy
Somewhat more classical than previous years, the standard of dancing was sans pareil. Just what the doctor ordered.
“A triple-bill that’s classy and classic… Perspectives really is a cracking evening. Maybe too much of a good thing is sometimes not a bad thing at all.”
David Dawson’s Four Last Songs: sleek, extremely physical and emotional… Poetry in motion, it is utterly, utterly gorgeous.
A pleasing, if unexciting evening. While nicely danced, it would be fair to say that none of the three ballets are out of Balanchine’s top drawer.
Square Dance, bright and playful; Episodes, cool, detached and often regarded as Balanchine at his most abstract, and the fun Western Symphony
“A real shifting through the gears. The whole ensemble looked at the top of their game… A fine evening of the best in dance. Not to be missed.”