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It would have been helpful to know who or what these characters are supposed to represent beyond being generalized images of demonstrating ability – perhaps to impress the others.

Emily Adams, whose character is dominant in the piece, seems the somewhat lost child/adult looking for … Sandwiched in between these two dances were a trio of shorter pieces that are perhaps more representative of the company’s breadth.

As you might tell from that somewhat rapturous description, the music was more enthralling than the dance, but the dance has moments of brilliance.

Corresponding to the Concerto, the dance is divided into eight sections, beginning and concluding with ensemble work, and stocked with distinctive pair, trio, or group dances in between.

While one or two (or three or four, depending on whether your New York point of view extends beyond the Hudson) ballet companies may arguably present the “best” dancers, whatever that might mean, there is no question that dancers now performing in ballet companies in most every nook and cranny of this country can be both technically brilliant and thrilling to watch.

Whether this decentralization of talent is a product of choice (dancers preferring to work in a less intense venue or closer to home), or the fact that talented dancers must find a home somewhere, the result is a boon for the dancegoing public, and reflects the ever-increasing numbers of highly capable dancers graduating from ballet schools that are staffed by ever-increasing numbers of former professional ballet dancers who, also whether by choice or because they too have to go somewhere, impart their expertise to their students wherever these students may be.

something (perhaps direction) or someone (perhaps to provide direction). In addition to the preview of Sweet and Bitter, they included a pas de deux from George Balanchine’s Chaconne and Gerald Arpino’s Ruth: Ricordi Per Due.

The name pipa is derived from the outward (pi) and inward (pa) motion of the hands/fingers as the instrument is played.

The piece has strong sense of balance, slightly off-kilter as it may be.

For instance, the initial segment, the first movement of Harrison’s composition, includes brief but distinctive duets by dancers other than the leads that are repeated, in different form, in the final ensemble segment.

It’s relatively large-looking (from paintings), was initially played horizontally, and its rich sound (actually it’s capable of many sounds) is almost otherworldly.

As I listened to the composition, I heard – aside from the plucking of the strings – a sound panoply that brought to mind an Asian form of Bernstein or Copland.

In between are the featured dances, beginning with a duet danced by De Bona and Adrian Fry (“Troika”), an emotionless but well-executed male/male duet performed by Lucas Horns and Jordan Veit (“Wind and Plum”), a solo for Jenna Rae Herrera, joined in part by Oliver Oguma (“Neopolitan”), which is reprised and expanded later, a dance for six bare-chested men wearing pinkish (nude-colored) tights that’s not quite as funny-looking as it sounds (“Three Sharing”), and the dance’s centerpiece, a gorgeous pas de deux danced by Beckanne Sisk and Christopher Ruud (“Threnody for Richard Locke”).

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