Subscribe to the magazine for free!

Email this page to a friend:

JUN 09
MAY 09
APR 09
MAR 09
FEB 09
JAN 09
DEC 08
NOV 08
OCT 08
SEP 08
AUG 08
JUL 08
JUN 08
MAY 08
APR 08
MAR 08
FEB 08
JAN 08
DEC 07
NOV 07
OCT 07
SEP 07
AUG 07
JUL 07
JUN 07
MAY 07
APR 07
MAR 07
FEB 07
JAN 07
DEC 06
NOV 06
OCT 06
SEP 06
AUG 06
JUL 06
JUN 06
MAY 06
APR 06
MAR 06
FEB 06
JAN 06
DEC 05
NOV 05
OCT 05
SEP 05
AUG 05
JUL 05
JUN 05
MAY 05
APR 05
MAR 05
FEB 05
JAN 05
DEC 04
NOV 04
OCT 04
SEP 04
AUG 04
JUL 04
JUN 04
MAY 04
APR 04
MAR 04
FEB 04
JAN 04
DEC 03
NOV 03
OCT 03
SEP 03
AUG 03
JUL 03

Advertising Information

American Ballet Theatre
2009 Met Season

[new] 'Swan Lake'
by Colleen Boresta - June 27, 2009 Matinee

After “The Nutcracker,” “Swan Lake” is probably the most popular ballet in the world. It contains both Tchaikovsky’s unforgettable score and the penultimate challenge for the ballerina, the dual role of Odette/Odile. I have seen “Swan Lake” live close to 36 times. Even a production as flawed as American Ballet Theatre’s “Swan Lake” (it’s choreographed by Kevin McKenzie after – way after – Marius Petipa and Lev Ivanov) is noteworthy for the high caliber of the dancers.

read more..

[new] 'Swan Lake' - Nina Ananiashvili Farewell
by Jerry Hochman - July 25, 2009

Unlike most of the ballet world, I was never a “Nina-person.” Must have been some defect in my upbringing. And although I’ve seen her dance many times, I never got around to seeing her Odette/Odile before tonight. Another developmental flaw. But I’m glad I waited: What a way to get introduced!

read more..

[new] 'La Sylphide' and 'Airs'
by Jerry Hochman - June 20 mat and eve, 2009

'La Sylphide'
by Colleen Boresta - June 20 mat, 2009

Four Giselles
by Jerry Hochman - June 9, 12, 13 mat, 13 eve, 2009

Contrary to popular rumor, I was not around to see Carlotta Grisi dance the first “Giselle” in 1841. Nor did I have an opportunity to see Anna Pavlova perform it (though we’re getting closer). However, although I never saw these legendary Giselles, I have been fortunate to have seen perhaps dozens of different ballerinas dance this seminal role with many different companies. I can safely say, with few exceptions, that I loved them all.


'On the Dnieper' on the Hudson
by Jerry Hochman - June 1, 2009

Just when you began to think that it was going to be a relatively unimpressive evening (certain individual dancers’ performances excepted) during American Ballet Theatre's current season at the Met, along comes a work that is so well-crafted, well-staged, and well-executed that, at its end, it leaves you breathless.


Coming: Vishneva

The National Ballet of Canada
Four Seasons Centre, Toronto

Interview with Hilary Guswiler and Alban Lendorf, from the Erik Bruhn Prize Competition
by Kate Snedeker - March 18, 2009

"And we’ve learned so much. I feel I’ve grown a lot. We’re taking class with the other competitors. They are so nice, and there’s a really good… …a good vibe, a good atmosphere, and people are nice."


by Kate Snedeker - May 28, 2009

On Wednesday evening, the National Ballet of Canada bid welcome to “Giselle” and began the process of saying goodbye to the company’s senior ballerina, Chan Hon Goh, who has been with the company for more than two decades and was simply lovely in this the first of her last two Giselles.


'Skin Divers' and 'Carmen'
by Kate Snedeker - June 6, 2009

The final program of the National Ballet of Canada’s 2008-09 season provided an apt reflection of a season as a whole: what began slightly unfocused and underwhelming finished with passion, fire and energy. On this evening, the North American premiere of Dominique Dumais’ “Skin Divers” was far less than the sum of its parts, while “Carmen”, deliciously re-imagined by DavideBombana, left the departing audience with a truly satisfying view of the National Ballet at its most powerful.

Forums Flashes
Direct from the CD forum...
Royal Ballet at the Kennedy Center
by Andre Yew

Though I liked Chroma (as well as Infra and Eden/Eden) a lot, it faded a bit over 3 consecutive viewings. What makes it interesting for me is not only its facility-on-sleeve kind of choreography, showing off the extreme facility of the dancers, but the different kind of energy and movement quality it asks from the dancers. As a piece of choreography, it may not last the ages, but it works very well as an exciting essay on movement.

To read more, click here.


Wheeldon Wheels Into Seattle
by Dean Speer and Francis Timlin
"I saw dance on television and asked to study dance. I was fortunate that my parents were supportive from the beginning. I seem to be blessed with a good memory and can recall what it was that I saw: a Leslie Collier and Michael Coleman recording of 'La Fille mal Gardée.'"

Conversation with Eugene Ballet's Vanessa Laws and Leoannis Pupo-Guillen
by Dean Speer

"Baseball is really big in Cuba but ballet was an unknown to my family. Like every boy in my neighborhood, I was into baseball too and played soccer for three years but my main interest was acting. I was invited to audition for the Vocational School of Arts; I just didn’t know that reason was that they were looking for boys in the Ballet Department. At first I was not too exited with the idea but despite my dad’s disappointment my mom convinced me to accept because it was the best school in my city. It only took a trip to the local Theater for a “macho” sailor’s dance and a few appearances on local TV, for my family to see that a male ballet dancer might be okay."


click for gallery
Chancy Grain Gallery
(click for a special collection of photos selected for the magazine by the photographer)


[new] Birmingham Royal Ballet - 'Mozartiana' and 'The Two Pigeons'
by David Mead -- June 17, 2009, Hippodrome Theatre, Birmingham, UK
If there is one company in England that really understands Balanchine ballets and how they should be danced, it is David Bintley’s Birmingham Royal Ballet. Yet, Balanchine’s “Mozartiana” failed to hit the heights. It was not the company’s fault though. It is one of those works that had deep meaning for its maker and original lead, Suzanne Farrell. She once remarked of the ballet, “It’s what heaven must be like.” I wouldn’t go that far, but I can understand that it must have felt quite spiritual to her. It is not the fault of today’s dancers that much of that feeling has been lost. Balanchine completed the ballet just two years before his death, and it shares the same mournful feel as many of his other later works. The mood is only added to by the black drapes that frame the stage and the largely black, although admittedly beautiful, costumes.

Pacific Northwest Ballet's Choreographers' Showcase and Annual School Performance
by Dean Speer -- June 13, 2009, McCaw Hall, Seattle, Washington
The winners of this year’s end-of-the-year extravaganza were two who stood out – peers amongst their peers: Robbie-Jean Arbaczewski and Ezra Thomson. In the School Performance, they were showcased in Balanchine’s “La Source” which is really not just a lone pas de deux with a principal couple, a soloist, and corps but really three pas de deux for the price of one. Each element of a traditional duet was explored: the partnered adagio with lots of balances and extended promenades; multiple solos of varying type (jumps, turns, quick pointe work) for each; and more than one coda or finale allegro. Rather than perform each of these components one time, in order, they came back several times after the interpolation of others’ dances to do yet another display.

Tour de Force: A Gala Dance Spectacular
by Kathy Lee Scott -- May 21, 2009, Orange County Performing Arts Center, Costa Mesa, California
Fourteen prominent dancers from around the world gathered to perform 14 dances during the “Tour de Force: A Gala Dance Spectacular” at the Orange County Performing Arts Center in Costa Mesa, California. At the May 21 show, traditional ballet pas de deux interspersed with modern dance. All performers delighted the full audience, who gave them a standing ovation.

Nancy Bannon's 'The Pod Project'
by Elizabeth McPherson -- June 19, 2009, Dance New Amsterdam, New York City
I went to this performance not knowing exactly what to expect except that it would be a unique experience, and in that, my expectations were well met. In “The Pod Project,” Nancy Bannon is exploring boundaries and forcing her audience to accept risk as part of the experience. When I checked in at the box office, I was given a laminated number 12 and told to hold it where it could be seen. I, along with thirteen other people holding numbers, waited for a bit outside the theatre.

Pacific Northwest Ballet's 'Celebration of Louise Nadeau'
by Dean Speer -- June 7, 2009 -- Seattle, Washington
Many words were used in tribute to describe Pacific Northwest Ballet’s retiring senior ballerina, Louise Nadeau: wonderful, a study in contrasts, witty, dedicated, accomplished, gifted, gorgeous, bewitching. In trolling through what I’ve written about her over the years, I must add a “wonderful je ne sais quois.” However, the best tribute came from the subject herself through her dancing and in the excerpts from some of her favorite ballets.

The Washington Ballet: 'pastFORWARD' - 'Rubies,' 'Wunderland,' 'Juanita y Alicia'
by Carmel Morgan -- May 14, 2009, Harman Center for the Arts, Sidney Harman Hall, Washington, DC
The final production of the Washington Ballet’s 2008-2009 season, a performance of three mixed works titled “past FORWARD,” brought the company’s strengths to the forefront. Balanchine’s “Rubies,” an excerpt from his “Jewels,” provided the past in the program, while the world premiere of Edwaard Liang’s “Wunderland” clearly gave the show its forward motion.

Coming: More Birmingham Royal Ballet, Royal Ballet and Bolshoi Ballet

editors' choice

· American Dance Festival
June 11 - July 25, 2009 -- Durham, North Carolina
Performances, panel discussions and film celebrate this year's theme of "Where Ballet and Modern Meet."

· 2009 Jacob's Pillow Dance Festival
June 20 - August 20, 2009 -- Becket, Massachusetts
Jacob's Pillow, America's longest running dance festival, is an incomparable experience. Every year visitors, dancers, choreographers, composers, teachers, experts and novices mingle, discuss and explore the art of dance with 50 dance companies performing on three Festival stages and through more than 150 talks, photography exhibits, dance classes and more.



For ballet-dance magazine

Executive Editor
Kate Snedeker

Executive Editor 2003-2005
Mary Ellen Hunt

Focus and Photo Editors
Elizabeth McPherson, Dean Speer

Associate Editors & Compositors
Lori Ibay, Holly Messitt, Francis Timlin, Lisa Claybaugh, Azlan Ezaddin

about writers' guidelinesfaq privacy policy copyright notice advertising contact us