Posts Tagged ‘City Ballet of San Diego’
City Ballet Soars in Premieres
Maurice Ravel didn’t intend for Bolero to be about sex. But the popular response to his 1928 composition—and of course the film “10”—have argued otherwise. Now there’s a fresh testament to the music’s erotic power: City Ballet of San Diego’s “Bolero—The Awakening,” which premiered at the Balboa Theatre last weekend. The ballet by company co-founder Elizabeth Wistrich sizzles.
Read MoreCity Ballet Dances in the Moonlight
Can’t City Ballet of San Diego afford shirts for its male dancers? Just kidding. The bare-chested guys looked swell in a show that was a charming mix of setting—UCSD’s Epstein Family Amphitheater—and a program of superbly danced all-new work.
Read MoreA Feast of Choreographic Invention: City Ballet’s “On the Move”
I was mesmerized by the dancers’ wrists, which in all three pieces are often flexed at dramatic 90-degree angles, both up and down. In another arresting gesture, they hold their wrists crossed as if shackled. And that’s just some of the choreographic invention on display from City Ballet’s Geoff Gonzalez last Saturday.
Read MoreWho Cares? Everyone—City Ballet’s “Balanchine and More”
City Ballet of San Diego opened its “Balanchine and More” with “Who Cares?,” George Balanchine’s 1970 ballet set to nine Gershwin tunes. Lighthearted and flirty, the piece was a delicious kickoff for a program demonstrating the extraordinary care that has made City Ballet a stellar company whose dancers gobble up challenging repertory … and do it to a live orchestra.
Read MoreGlorious Dance and Music in ‘Requiem’ Triple-Bill Marks City Ballet’s 26th Season
Movement and music were unified, and it was difficult to choose where to look. Three dynamic dances set to soft piano, bold snare drum, and a sacred mass reminded us that life is good, and…
Read MoreIt’s the Music! It’s the Dance! City Ballet’s Balanchine Masterpieces Wows
In last weekend’s “Balanchine Masterpieces” program, the music proved as thrilling as the dance—especially Mark Polesky at the piano. Polesky brought brightness and verve to the Stravinsky and richness to Hindemith’s changing moods. And that was on an electric keyboard! The dance was equally stunning, from the moment the Spreckels Theatre curtain rose on a chorus line of dancers in sparkly lipstick-red.
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