![]() ![]() Eventually we see the other six dancers processing behind a scrim. Everybody ends up back in the original tableau, but after what we’ve seen and heard, it doesn’t look the same.Ĭirio assembled a suite of chamber music for “Chaptered in Fragments.” To a transcription of a Handel Sarabande (superbly played by senior principal solo pianist Freda Locker), Soo Bin Lee stalks the stage alone. The movement, like the music, can be unexpected: Derek Dunn climbs on Tigran Mkrtchyan’s back, Chyrstyn Fentroy and Patrick Yocum threaten to jitterbug. It’s like reading Keats while listening to Charles Ives. Dressed in bright pastels, Peck’s three women and three men strike a classical tableau to begin then they show us what figures on a Grecian urn might get up to when we’re not looking. Peck’s “Point of Departure” is set to Pulitzer Prize winner Caroline Shaw’s “Thousandth Orange,” a piano quartet (played onstage here) where the piano goes in one direction and the strings in another. Shantell Martin is a British visual artist making her choreographic debut here her commissioners have included New York City Ballet. ![]() Claudia Schreier is choreographer in residence with Atlanta Ballet Bessie winner Melissa Toogood is a former Merce Cunningham dancer currently with Pam Tanowitz. He has a New York City Ballet principal in Tiler Peck and Boston Ballet’s senior principal woman in Lia Cirio. Presenting five world premieres by five women, it asks whether ballet wouldn’t benefit from more women choreographers and answers with a magnificent, resounding yes.īoston Ballet artistic director Mikko Nissinen didn’t get just any “ChoreograpHERs” for this dance card. ![]() The fruit of that initiative, “ChoreograpHER,” opened Thursday at the Citizens Bank Opera House. In 2018, Boston Ballet launched an initiative to encourage more women to create dances as well as perform them. When it comes to choreographing, ballet is mostly men. ![]() George Balanchine may have said, “Ballet is woman,” but he was talking about dancers. ![]()
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