Word: dancers
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However, if there was any justice in the world, the name Piazzolla would have a secure place in the pantheon of twentieth-century musical masters. And this three-CD collection of Piazzolla's American Clave recordings (Tango: Zero Hour, from 1986, The Rough Dancer and the Cyclical Night, from 1987 and La Camorra: La Soledad De La Provocacion Apasionada from 1989; the set is distributed through Cambridge's very own Rounder Records) serves as a beautiful testament to Piazzolla's genius, featuring almost three hours of some of the most haunting, searching, intensely emotional music of this century...
Starting with Push Comes to Shove, you could call Twyla Tharp Baryshnikov's inspired biographer. Push saw him as an immigrant dancer in a new and daunting company (A.B.T.) and country, determined to assert himself, join the fun, court the girls and still deal with the fact that he is irremediably different, set apart by culture and genius. By the time The Little Ballet came along in 1983, Misha was A.B.T.'s director, and that dance was a hilarious, poignant picture of a harried boss trying to cope with a fractious company. It was the dance equivalent...
...work junkie. Even if the dance doesn't turn out to be successful, I adore the process." The speaker is Mikhail Baryshnikov, the greatest dancer of his time, whose interpretations of the classical male roles set the standard for the 1970s and '80s, and probably for a long time to come. In those years the notion of this paradigm of nobility mixing it up with modern dance seemed absurd. But a closer look at the record reveals he was already seeking out alliances with modern choreographers. When Twyla Tharp created Push Comes to Shove for him in 1976, she revealed...
Signals is a good example of why White Oak's eclectic programming works -- and may be a harbinger of dance's future. Unlike virtually any other choreographer, Cunningham thinks in terms of neither music nor steps but segments of time. "Given 10 seconds," he says, "the dancer has to define the phrase and accent something within the time." An evening of Cunningham can be bewitching. But it is only when one sees one of his pieces alongside the choreography of others that one appreciates just how different in weight and shape his work really is. Cunningham says he created Signals...
Pergolesi began two years ago as a duet Tharp danced with Baryshnikov. Back then, it commented on the relationship between choreographer and dancer, who in this case are an exceptional match in both musicality and wit. Tharp's funny bone is never predictable; Baryshnikov can make any move look spontaneous, as if he were out there amusing himself. The piece is now recast as a solo, though for a few phrases Misha dances ardently with an invisible partner -- Twyla's way of reminding people that this is still her show. For the rest, Baryshnikov seems to be musing...