Loading
Dance Data Project
  • About
    • Our Purpose
    • The DDP Team
    • The DDP Advisory Council
    • DDP Accomplishments
  • Research
    • Our Research
    • Research Calendar
  • Advocacy
    • Connecting the Dots: Yes This Is An Arts Story
    • #AskB4UGive
    • Financial Literacy Checklist
    • Minding The Gender Pay Gap
  • Resources
    • 2020-2021 Season Status Updates
    • Covid-19 Resources
    • Competitions, scholarships, w/ deadlines, requirements, stipends, grants, etc.
    • Leader Board
    • Choreographer Checklists
    • Books and Film on Ballet and the Business of Ballet
    • Articles and Research
    • Previously Published Research
    • Minding The Gender Pay Gap
  • Interviews
    • Global Conversations
    • DDP Talks To
  • News
    • Announcements
    • DDP in the News
    • Newsletter
  • Contact
  • Donate
  • Search
  • Menu Menu
  • Twitter
  • Facebook
  • Instagram

News

"The Devil Ties My Tongue" by Amy Seiwert performed for the SKETCH Series, 2013. Photo by David DeSilva. Courtesy of Amy Seiwert's Imagery

The Guardian: Royal Ballet Live: Within the Golden Hour review – sheer, ravishing class from top to pointed toe

November 16, 2020/0 Comments/in Ballet Programming, Awards, and Season Announcements /by dancedata

By Lyndsey Winship

15 November 2020

Planned for a live audience then switched to a streamed show, the Royal Ballet’s latest gala is pretty much an all-killer no-filler programme with a company of dancers who, if anything, seem to have benefited from their hiatus away from the stage.

Valentino Zucchetti gets the honour of opening the show with a world premiere, Scherzo. Zucchetti has been choreographing for some time without making huge waves, but this confident piece of neoclassicism shows he knows what he’s doing. It’s set to Rachmaninov, as, coincidentally, is the evening’s other new-ish piece, Cathy Marston’s In Our Wishes. Extracted from her ballet Three Sisters, this pas de deux was debuted at the Royal’s first post-lockdown performance last month. I found it more compelling this time round, perhaps thanks to the dancers (Romany Pajdak and Calvin Richardson), perhaps because the camera’s lens brought us closer to Pajdak’s haunted expressions. In a short duet they find gravitas, stoicism, desperation and great love between two people who just can’t melt the barrier between them.

Elsewhere, we get to explore the company’s history, with three Frederick Ashton works, including Dance of the Blessed Spirits, originally made for the opera Orpheus in 1953. William Bracewell dances the solo as if it’s a stream of consciousness. Full of feeling but never OTT, his dancing has an honesty about it that’s very moreish. Ashton’s divine Monotones II from 1965 is a trio that depends on absolute control and synchrony, plus Melissa Hamilton’s ability to do vertical splits – toe pointed to ceiling, head clasped to knee – while Reece Clarke and Nicol Edmonds rotate her on pointe. It’s extremely exposed, and skilfully pulled off. Staying in the 60s, Yasmine Naghdi and Edmonds bring seriousness and a scrupulous precision to the stark beauty of Kenneth MacMillan’s Concerto, the combination of choreography, Shostakovich’s music and glowing sunset backdrop quite ravishing.

Read the full story here.

Share this entry
  • Share on Facebook
  • Share on Twitter
  • Share on WhatsApp
  • Share on Pinterest
  • Share on LinkedIn
  • Share on Tumblr
  • Share on Vk
  • Share on Reddit
  • Share by Mail
https://www.dancedataproject.com/wp-content/uploads/2019/12/Screen-Shot-2019-12-17-at-12.41.18.png 532 1018 dancedata https://www.dancedataproject.com/wp-content/uploads/2019/05/DDP_logo_Primary.png dancedata2020-11-16 08:40:042020-11-16 08:40:04The Guardian: Royal Ballet Live: Within the Golden Hour review – sheer, ravishing class from top to pointed toe
0 replies

Leave a Reply

Want to join the discussion?
Feel free to contribute!

Leave a Reply Cancel reply

Your email address will not be published. Required fields are marked *

Categories

  • Initiatives Worth Following
  • DDP in the News
  • Global Conversations
  • #YesThisIsAnArtsStory
  • DDP Talks To
  • Ballet Programming, Awards, and Season Announcements
  • Choreographer/Artist Profile
    • New Voices
  • Pay Equity, Transparency and Safety
  • News
  • Other Arts & Related Fields
  • DDP Announcements

Tags

Akram Khan Alastair Macaulay Alexander Sanger Alexandra Botti Alexei Ratmansky Anna D- Shapiro Ballet West Black Swan Caroline Miller Classical Indian Dance Courtney Escyne Cristina Rocca Dance Data Project Dance Magazine Eri Yoneda Financial Times Flesh and Bone Gia Kourlas Gianna Reisen Griselda Murray Brown Harvey Weinstein Heather Hartley Helen Pickett Jennifer Stahl Lauren Lovette Lauren Wingenroth Liza Yntema Luke Jennings Michael Scolamiero New York City Ballet New York Times Not Our Fate Odissi Orlando Ballet Patricia Baretto Peter Martins phindie PRI Public Radio International Ritha Devi Roell Schmidt Tania Castroverde Moskalenko The Guardian Twyla Tharp Vail Dance Festival

Contact Us

Reach out to us to learn more about our mission.

Contact Us

"The Devil Ties My Tongue" by Amy Seiwert performed for the SKETCH Series, 2013. Photo by David DeSilva. Courtesy of Amy Seiwert's Imagery

About DDP

  • About the Dance Data Project
  • The DDP Advisory Council
  • The DDP Team
  • DDP in the News

Research

  • Our Research
  • Research Calendar

Interviews

  • Global Conversations
  • DDP Talks To

Resources

  • Resources
  • 2020-2021 Season Status Updates
  • Articles and Research
  • Books and Film
  • Choreographer Checklists
  • Competitions & Scholarships
  • Covid-19 Resources
  • Leaderboard
  • Minding The Gender Pay Gap
  • Previously Published Research

Advocacy

  • Advocacy
  • #AskB4UGive
  • Financial Literacy Checklist

Contact Us

© Copyright - Dance Data Project
  • Twitter
  • Facebook
  • Instagram
  • Terms & Conditions
  • Privacy Policy
  • Data Disclaimer
  • Press
  • Submit Your Data
The Free Lance- Star: Fredericksburg-area dance studios struggle during pan... Dance Magazine: Kyle Abraham Is Dance Magazine’s Guest Editor This Week
Scroll to top