By Jeannette Anderson Instead of opening its season with the planned mixed bill Celebrate!, Dutch National Ballet made a timely change in programming with the more somber triple bill, Shadows, featuring Kurt Jooss’ iconic 1932 anti-war ballet, The Green Table. Company director Ted Brandsen explained in a program note that they did so because Jooss’
When Makhar Vaziev took over the Bolshoi last year, he declared that classical ballet was and will always remain the company’s lifeline. And so it was when the Bolshoi toured to Japan in June, where a program of classics — Giselle, Swan Lake and Flames of Paris — dominated over 12 days of performances at Tokyo Bunka Kaikan concert hall. In Giselle, when Evgenia Obraztsova runs, her body
by Laura Cappelle There is a special joy in seeing an upstart company or festival fulfill its promise, and St. Petersburg’s Dance Open has done just that. Last spring, it celebrated its 15th anniversary, rebounding from budget cuts to present a satisfyingly full program, geared toward recent creations. The Vienna Ballet returned, while Dresden’s Semperoper