Director's Notes: A Perfect Paradox

Director's Notes: A Perfect Paradox

At Stuttgart Ballet, Reid Anderson embraces the traditional and the avant-garde. Name the most prominent choreographers and directors in continental Europe, and the list reads like a who’s who of Stuttgart Ballet alumni. John Neumeier, Jirí Kylián and William Forsythe...
Director's Notes: A Perfect Paradox

Director's Notes: Maestro in Montevideo

Julio Bocca injects his experience and flair into Uruguay’s Ballet Nacional Sodre. Julio Bocca’s performances during his 20 years at American Ballet Theatre had the tangible feel of verismo. Whatever character he danced—Romeo, Albrecht, Onegin—grabbed you from the...
Director's Notes: A Perfect Paradox

Director's Notes: The Maverick in Monaco

Les Ballets de Monte-Carlo is Jean-Christophe Maillot’s personal playground. B ox-office pressure doesn’t seem to be part of the vocabulary at Les Ballets de Monte-Carlo. For the past two decades, this maverick company devoted to the sleek neoclassical...
Director's Notes: A Perfect Paradox

Director's Notes: American Down Under

Ethan Stiefel takes on his biggest role yet as artistic director of Royal New Zealand Ballet. I nternational ballet stars labeled “Made in America” are an endangered species. But former American Ballet Theatre principal Ethan Stiefel is one of the rare...
Director's Notes: A Perfect Paradox

Director's Notes: The Revitalizer

Emily Molnar has given Ballet BC fresh life. W atching the exuberant dancing of today’s Ballet BC, you’d hardly guess that the troupe was on the brink of collapse a little more than four years ago. In 2008, dwindling audiences had compounded the...
Director's Notes: A Perfect Paradox

Director's Notes: No Longer Vanilla

John McFall has made Atlanta Ballet an incubator for innovative choreography. I n John McFall’s teenage mind, nothing equaled the enchantment of ballet. He remembers being cast as a swashbuckling supernumerary in Scheherazade when Ballet Russe de Monte Carlo...