“This production is not an occasion for him to express his bold originality as is the case with his Nutcracker … Rather, his approach to Sleeping Beauty is to re-create as closely as possible the 1890 choreography by Marius Petipa,” notation for which has survived.
“[Dance education] should not have a cost or price. … When you put a price on [access], then you divide into two camps those who can and those who cannot. In the camp of those who cannot I bet there is a lot of talent there, a lot of Nureyev … I think we should demand at the highest level that these things should happen. It is a fight to take to the government.”
“How miraculous that amid all that suffocating tulle, a ballet flame-thrower named Leonid Yakobson emerged. … Dancers hungry for a challenge loved the odd body shapes, sexiness and wit of his choreography. Among his disciples were the young Natalia Makarova and Mikhail Baryshnikov” as well as Maya Plisetskaya. Even Richard Nixon was a fan.
“She was, and is, longer than most. More angular. Like calligraphy, critics said. And that’s just the start. They go crazy for her work ethic. Her astounding strength. Her rapturous, incandescent spirituality. So have choreographers. … Last fall, at 47, Whelan left the New York City Ballet. But she’s still dancing.” (audio; includes video clips)
Judith Mackrell: “A couple of months ago I asked whether choreographers need editors and whether dance, like literature, might benefit from having some kind of inbuilt system of feedback, comment and control. It became clear that this was a question that others were asking. And a few weeks later, it was taken up by Rambert in their offer of a public debate.”
Two years ago, the Teatro del Maggio Musicale, facing the same cash crises that afflict most Italian opera houses these days, announced that it could no longer afford to maintain its ballet company, called MaggioDanza. Supporters put together a private entity intended to maintain the troupe at the theater. It didn’t work (and they’re all suing each other), so MaggioDanza will close after all. (in Italian)
“There are so many talented female choreographers out there, but they’re much less quick than men to accept work. Some of the women I approached had little children and decided it was too much to deal with. Some felt they were not ready for a big London commission. … There’s no shortage of men who want to experiment and put themselves forward, but we have to go out to find the women.”
“Since founding her practice in 2008, Rodriguez has become the go-to physical therapist for much of the ballet world’s elite talent, treating marquee dancers like Benjamin Millepied and Wendy Whelan, as well as members of companies including the New York City Ballet, the Alvin Ailey school and France’s Paris Opera Ballet.”
The 33-year-old Quebecker is a principal and the National Ballet of Canada and arguably the nation’s biggest male ballet star. He also makes high-profile guest appearances, composes and performs music, runs a summer arts festival in the countryside north of Montreal, and is choreographing a full-length ballet based on one of the most beloved works in all of French literature (Le Petit Prince). And he’s a dad.
“The images flash between the noble and the grotesque, as a Renaissance artist might put it–the polished and the rough, elegant and comic, masque and antimasque. Then as now, we’re fascinated by these contrasts, these irreconcilable parts of our essential humanness. It satisfies something innate to see opposites in play.”
“Technically, the performance is astonishing. The robot itself required a full four months of on-site programming and rehearsal. That most demanding and conspicuous technical element makes the hour-long performance’s lighting seem elementary by comparison, but it is similarly high-tech and essential to the piece’s sleek, minimalist aesthetic.”
Gustavo Ramirez Sansano was appointed in November 2014, alongside Paul Kaynes as chief executive, as National Dance Company Wales new artistic director and was due to begin his tenure in June. National Dance Company Wales’s previous artistic director and co-founder Ann Sholem stepped down in 2013 after 30 years in charge of the company.