Witness the celebration of the opening night of the season this spring at the American Ballet Theater on Monday at the Metropolitan Opera House. The crowd came dressed to the nines. Dancers dressed no less splendid, made their jumps, their money, their spectacular lifts, dramatic gestures, noble curtain calls. Was it wonderful for you, dear? It was wonderful for me too. Eager to all the applause.
This approach is characterized formulas too much of the gala, which honored the 70th anniversary of the company. You slapped a dancer fouetté doing 32 laps in the first half? We're giving them another dancer in the second. Did you admire the balances held in point of the two dancers before the intermission? There is more to the provenance. The Rose Adagio from "Sleeping Beauty" and the ballet itself the wedding pas de deux tail, the Black Swan pas de deux from Swan Lake, "" the "Don Quixote" pas de deux all start to have too common, and the ballet becomes an art of cliché.
Then there are the speeches unspontaneous and nervous. It was wonderful to welcome back to the stage seven of the previous lighting company - Lupe Serrano, Martine Van Hamel, Nina Ananiashvili, Mikhail Baryshnikov, Alessandra Ferri, Natalia Makarova and Frederick Franklin - but much more could have made his historical significance. I like Ballet Theater (and ballet) enough to want to do these things more pure showmanship. The choreographer Alexei Ratmansky name, artist in residence with the company, talked (as bad, actually) and yet he was not dancing by the light.
This approach is characterized formulas too much of the gala, which honored the 70th anniversary of the company. You slapped a dancer fouetté doing 32 laps in the first half? We're giving them another dancer in the second. Did you admire the balances held in point of the two dancers before the intermission? There is more to the provenance. The Rose Adagio from "Sleeping Beauty" and the ballet itself the wedding pas de deux tail, the Black Swan pas de deux from Swan Lake, "" the "Don Quixote" pas de deux all start to have too common, and the ballet becomes an art of cliché.
Then there are the speeches unspontaneous and nervous. It was wonderful to welcome back to the stage seven of the previous lighting company - Lupe Serrano, Martine Van Hamel, Nina Ananiashvili, Mikhail Baryshnikov, Alessandra Ferri, Natalia Makarova and Frederick Franklin - but much more could have made his historical significance. I like Ballet Theater (and ballet) enough to want to do these things more pure showmanship. The choreographer Alexei Ratmansky name, artist in residence with the company, talked (as bad, actually) and yet he was not dancing by the light.
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