Alexei Ratmansky stands out among contemporary choreographers for two reasons: he still creates genuinely classical dance, and he's more conscious than most that art is dependant on the society it's created in.
Visits from major foreign ballet companies are always news, but a two-week London season by one of America’s “big three” is something to get excited about. San Francisco Ballet doesn’t rest on its laurels. Eight of the 12 pieces offered in the coming Sadler's Wells season were premiered by the company only last year.
The first surprise is that this hasn’t been done before. The poems that comprise TS Eliot’s Four Quartets are so embedded with references to dance that presenting them alongside choreography feels inevitable.
Sidi Larbi Cherkaoui has come a long way since his early days as a hip hop artist, but the outsider status is obvious even before the curtain goes up on Medusa, his first commission for the Royal Ballet and the centrepiece of a triple bill showcasing the company’s contemporary side.
All Bach is dance, a teacher once told me. The justifiable exaggeration switched on a light; leaping to the Brandenburg Concertos followed. This great work of kinetic art is of a different order. Choreographer and performer Anne Teresa De Keersmaeker represents the pure but vibrant mastery of the Cello Suites in the way that the soul moves with them, responsive to every hyper-dance form, key and modulation.
She does indeed persist, that remarkable Tamara Rojo. Dismayed by the fact that, in 20 years as a dancer, she had never performed a ballet made by a woman, she mounted a triple bill called She Said, featuring only work by and about women.
Given that the life of Queen Victoria spanned the best part of a century, the first task for any biographer is to hack a path through the mountain of facts. It ought to help that the queen was a prolific diarist. Too bad for choreographer Cathy Marston that Victoria’s youngest daughter got there first.
In The Thread Russell Maliphant attempts what, at first sight, appears a foolhardy project – the juxtaposition of contemporary and traditional Greek dance. The two genres seem poles apart, the one being collective and in unison, the other more individualistic and expressive. But by slowing the pace and emphasising the similarities, Maliphant has created an unlikely dialogue that enriches them both.
It's a decade since Pina Bausch sadly died, and during that time her company has kept her memory alive by revisiting her amazingly rich legacy. Inevitably, though, the time would come for them to embark on a new phase; but how? The unique mix of dance and visual theatre that Bausch developed with them over 36 astoundingly creative years is so distinctive that any attempt to follow in her footsteps would most likely seem like a pastiche.
Stravinsky acknowledged that his orchestra for The Rite of Spring was a large one because Diaghilev had promised him extra musicians (“I am not sure that my orchestra would have been as huge otherwise.”) It isn’t huge in Opera North’s production (★★★★★), and for practical reasons they're using the edition arranged by Jonathan McPhee in 1988 for a standard pit band.