dance
In the realm of the Nutcracker kingMonday, 18 December 2000
At this time of year people who love ballet divide into two tribes: those who are too sophisticated for The Nutcracker and those who will never been too sophisticated for The Nutcracker. The former will say that The Nutcracker is a children’s ballet. For the latter, Christmas would not be Christmas without hearing probably the most familiar and adored of Tchaikovsky’s music scores. Read more... |
The battle for BalanchineSaturday, 22 July 2000
THE choreographer George Balanchine died on April 30, 1983, aged 79, of Creutzfeldt-Jacob disease, a rare, if nowadays notorious, condition only discovered at his autopsy. What had been recognised long before his death, though, was that this man was one of the very greatest geniuses of the 20th century, a figure to be reckoned alongside Pablo Picasso in art and Igor Stravinsky in music. Read more... |
Last Dance: Why Our Best Ballets Are Slowly DyingTuesday, 20 July 1999
Sir Frederick Ashton, Britain's unrivalled genius at creating ballets, had a simple attitude towards posterity. "You've heard his famous remark, 'Fuck posterity'?" says his nephew, Anthony Russell-Roberts, smiling but eyeing me apprehensively. Read more... |
Manon: Shock that turned to respectSaturday, 04 July 1998
One of the first, scathing reviews of Kenneth MacMillan's ballet Manon in 1974 nailed it exactly: "It is an appalling waste of lovely Antoinette Sibley who, as Manon, is reduced to a nasty little diamond-digger." In that sentence all the prevailing attitudes about ballet were summed up - the status of classical ballerinas as princesses on pedestals, the duty of ballet to polish their virtuous crowns, the horror of seeing this porcelain beauty smashed. Read more... |
Pages
latest in today
Two Strangers (Carry A Cake Across New York), Criterion Thea...
Small-scale shows, nurtured in offbeat places, are becoming all the rage in the...
Queyras, Philharmonia, Suzuki, RFH review - Romantic journey...
As he approaches his 70th birthday, Masaaki Suzuki has not just travelled into pastures new but proved himself thoroughly at home in them. The...
Nadine Shah, SWG3, Glasgow review - loudly dancing the night...
First Nadine Shah raised hopes, then dashed them. “I’ve never had a dance off onstage before,” she observed at one point, impressed by the shapes...
Expressionists: Kandinsky, Münter and the Blue Rider, Tate M...
In 1903, Wassily Kandinsky painted a figure in a blue cloak galloping across a landscape on a white horse. Several years later the name of the...
Orbital, O2 Institute, Birmingham review - the techno titans...
On Friday evening, dance veterans Orbital touched down in Birmingham to celebrate two of the most significant and acclaimed albums in...
Fern Brady, Netflix Special review - sex, relationships and...
An appearance on Taskmaster and the publication of her acclaimed memoir Strong Female Character have helped propel Fern Brady...
Album: The Lemon Twigs - A Dream Is All We Know
The Lemon Twigs aren’t shy about telegraphing their inspirations. A Dream is all we Know, their swift follow-up to last May’s ...
Götterdämmerung, LPO, Jurowski, RFH review - outside looking...
Four years embracing pandemic, genocide and rapid environmental degradation predicted by Wagner’s grand myth have passed before the Southbank Br...
Music Reissues Weekly: Warsaw - Middlesbrough 14th September...
Edinburgh’s Rezillos were booked to play Middlesbrough’s Rock Garden on Wednesday 14 September 1977. “I Can’t Stand my Baby,” their debut single,...
theartsdesk Q&A: Marco Bellocchio - the last maestro
The last of the old maestros is standing tall. Marco...