World-class review of ballet and dance.
London loves Pina Bausch. The Tanztheater legend is an annual fixture at Sadler’s Wells, and her work still manages to be one of the hottest tickets in town.
Continue ReadingI caught the New York City Ballet’s two Winter Season premieres last week, and it seems that opposites are still attracting over at the Koch Theater.
Continue Reading
Continuing a project launched in 2019, lyrical singer Ekaterina Anapolskaya and former Opéra de Paris sujet, now professor at the ballet school, Gilles Isoart curated an evening of international guests conceived as a celebration of the nineteenth-century heritage.
Continue ReadingCreated in the early sixties, Glen Tetley’s “Pierrot Lunaire” is a rarely revived little dance oddity.
Continue ReadingThe National Ballet of Japan’s annual triple bill of dance, “Ballet Coffret” binged on three neoclassical favorites this year: David Dawson’s “A Million Kisses to my Skin” (2000) Hans van Manen’s “5 Tango’s” (1977) and George Balanchine’s “Themes and Variations” (1947).
Continue Reading
With their inimitable blend of contemporary movement and the no-holds barred athleticism of hip-hop and the meticulousness of martial arts, Compagnie Hervé Koubi creates a visual language unlike any other.
Continue Reading
Oh to love and be loved, what a beautiful mess it is. Nobody captures the contradictions of passion quite like Pina Bausch, whose “Sweet Mambo” is cast in her signature silly-meets-sincere mould—another treat for us Bausch bods out here, less fetching perhaps if you’re not a fan of her highly mannered house style.
Continue Reading
Continuing a project launched in 2019, lyrical singer Ekaterina Anapolskaya and former Opéra de Paris sujet, now professor at the ballet school, Gilles Isoart curated an evening of international guests conceived as a celebration of the nineteenth-century heritage.
Continue Reading
London loves Pina Bausch. The Tanztheater legend is an annual fixture at Sadler’s Wells, and her work still manages to be one of the hottest tickets in town.
Continue Reading
I caught the New York City Ballet’s two Winter Season premieres last week, and it seems that opposites are still attracting over at the Koch Theater.
Performance
Place
Words
$139.95
Gift a year of world-class dance journalism. Recipients will receive full access to Fjord's wide diversity of reviews, interviews, articles & podcasts.
Created in the early sixties, Glen Tetley’s “Pierrot Lunaire” is a rarely revived little dance oddity.
Continue Reading
The National Ballet of Japan’s annual triple bill of dance, “Ballet Coffret” binged on three neoclassical favorites this year: David Dawson’s “A Million Kisses to my Skin” (2000) Hans van Manen’s “5 Tango’s” (1977) and George Balanchine’s “Themes and Variations” (1947).
Continue Reading
Carolyn Carlson stands as one of the defining figures of contemporary dance. An American visionary shaped by the radical kinetic thinking of Alwin Nikolais in 1960s New York, she arrived in Europe in 1971 as a seismic force, dismantling the rigid hierarchies of the classical world to forge a new path for modernism. In 1974, she was appointed Étoile Chorégraphe, a title created specifically for her at the Opéra de Paris, where she led the pioneering Groupe de Recherches Théâtrales until 1980. Decades later, she would once again redraw institutional boundaries as the founding director of the Venice Biennale’s first...
Continue Reading
The modern classic “Le Parc” by Angelin Preljocaj is a masterpiece that never ceases to interrogate the dialectic of nature and culture, confronting human behaviour as shaped by societal norms or driven by raw emotion.
Continue Reading
From its first steps in 1986 as Dundee Rep Dance Company with at the helm, to the present day, Scottish Dance Theatre has sealed it's reputation as a forward-thinking company who...
Continue Reading
Few established artists hold recitals anymore. The word “recital” feels both elementary and antiquated, evoking either children parading across an auditorium stage or a nineteenth-century drawing room where the gentry whisper secrets around a pianoforte.
Continue Reading
It’s not often that one gets to hear a soprano recital in an up-close-and-personal setting. And it’s even rarer that said soprano has a pair of dancers moving about the stage as part of the performance.
Continue Reading
The first moments of Risa show the petite Risa Steinberg seated at a sleek desktop in her New York apartment.
Continue Reading
The ballet community in Los Angeles, quite large and scattered, is fond of opining that they live in a “tough town for ballet.”
Continue Reading
Dance artists and scholars have long asked the same question: how do we document an art form that, by nature, exists in one moment and is gone the next?
Continue Reading
In a week of humanitarian crisis, of bodies mobilised and menaced, what a privilege it’s been to take refuge in art that radiates integrity, conviction and splendour.
Continue Reading
George Balanchine famously said, “ballet is woman.” But unusually, in “Kammermusik No. 2,” he featured an all-male corps de ballet. I can think of one other men-only Balanchine dance, and it happens to be running the same week this winter season: “Prodigal Son.”
Continue Reading
What makes a good partner? For the dancers of New York City Ballet who are lined up on the stage—KJ Takahashi, Adrian Danchig-Waring, Emma Von Enck, and Sara Mearns—the answer is different, though together, their responses create a pretty comprehensive prescription. A good partner should be collaborative, honest, present, and sensitive.
Continue Reading
San Francisco Ballet artistic director Tamara Rojo has often said she believes ballet should operate more like Broadway, where shows have previews and work through revisions before the real premiere.
Continue Reading
In general, one knows exactly what to expect of a Pam Tanowitz piece. There will be deconstructed ballet and modern steps.
Performance
Place
Words
Already a paid subscriber? Login
"This extraordinary little magazine has grown to become a cultural mainstay, not just a valued critical source, but a cultural communicator, critic, review, booster and historian."
With a physical subscription you'll get a physical magazine twice a year along with full site access. With a digital subscription, you'll only get access to articles and podcasts.
With either a physical or digital subscription, you'll get access to podcast content.
You just need a subscription to get full access to articles.