Dancing peasants in traditional costumes often signal a Romantic ballet. However, they don't always consist of a three-act narrative. Divertissements are short ballets created to feature a dancer’s technical skill. August Bournonville choreographed many, including this folkloric interpretation of Gioachino Rossini’s opera William Tell. The dancers don't appear as characters, but rather perform to express the underlying joy in Rossini’s score. Darci Kistler masters this intention, seizing the stage with an unyielding connection to the music.
By now, you probably have your own standard performance makeup routine. But tailoring your makeup to the ballet you're dancing—especially if it's a story ballet—can really enhance the look and presence of your character. Beyond a little Black Swan smoky eye and flushed Coppélia cheeks, how can you really make your features pop? Enter former New York City Ballet dancer Kathryn Morgan (who now guest dances in her home state of Alabama).
There's a new dance movie in the works: Dave Scott, of the "So You Think You Can Dance" and Step Up families—is choreographing High Strung, a film about a ballet dancer from the Midwest who moves to New York City to attend a prestigious school on scholarship. Who will play that ballet dancer, you ask?
For the first time, Ballet Arizona is presenting the work of its own dancers. Between May 22 and June 1, the company will perform an evening of premieres choreographed by current BA dancers. The evening is the brain-child of Ballet Arizona director Ib Anderson who is letting his dancers loose in the studio.
AOL Originals first took us into New York City Ballet's Lincoln Center studios in city.ballet., and now Teen Vogue is doing the same—but this time, the camera is on the School of American Ballet. Strictly Ballet, which launched its first episode today, will follow students at various stages of their training, including dancers in their last year who are waiting to see if Peter Martins will hire them as NYCB apprentices. Episodes will be released regularly through the end of June.
When a ballet dancer hears Cesare Pugni’s familiar score, and sees a dancer holding a tambourine, she knows the imperishable variation from La Esmeralda will follow. One of the most recognizable pieces of choreography, it is often taught and performed to showcase a dancer's strength and technical ability. Esmeralda is one of a handful of ballet heroines to triumph at the end of her story—so pride and power are critical.