Word: pelzig
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Dates: during 1990-1999
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...choreographers. Also, a large part of the action relies on children, who despite their training at the Boston Ballet School, inevitably lack the precision that comes with years of training. Perhaps a reflection of the collaborative efforts of multiple choreographers (Anna-Marie Holmes, Bruce Marks, Sydney Leonard and Daniel Pelzig) rather than of one person's vision, the many dances sometimes appear disjointed. Certain scenes in Act II could definitely profit from some alterations. The dance of the Russian soldiers in scene six, accompanied by possibly the most rousing segment of Tchaikovsky's score, fails to project the same enthusiasm...
...Preceding Firebired comes The Princess and the Pea, Daniel Pelzig's wacky, slapstick parody on traditional storybook-ballets that was wildly successful in its 1995 premier. I felt The Princess and the Pea overly goofy; as a balletomane, I wished there had been more classical dancing. But for others, who often find long, conventional ballet-stories tiresome, this may just what they needed to rekindle an interest in ballet...
...firsts. A paradox of sorts. Well, really, a ballet of sorts. The Festival of Firsts ends tonight. Performances include the company premiere of Le Jeun Homme et la Mort, with music by Johann Sebastian Bach and choreography by Roland Petit, and the world premieres of Bachianas, choreography by Daniel Pelzig, and Corybantic, choreography by Christopher Wheeldon of the New York City Ballet. The Shubert Theatre, 265 Tremont St., Boston...
Girls in pink! Guys in leotards! Boston Ballet presents the Festival of Firsts, featuring the premiere of Roland Petit's Le Jeune Homme et la Mort and other world premieres by Daniel Pelzig and the New York City Ballet's Christopher Wheeldon. The Wang Center, 270 Tremont...
...theme of innovation came clear from the start with Daniel Pelzig's "Nine Lives: Songs of Lyle Lovett." The odd juxtaposition of ballet with Lovett's mellow country blues and twangy tunes created a comic atmosphere that was magnified by the black leatherish pants worn by the men and the attitudes adopted by the dancers in their dramatization of the lyrics. Whether pretending to light a cigarette or making an appropriate facial expression, the performers were certainly into the piece. Classical ballet seemed to become one with line dancing in the livelier segments, and interspersed throughout the piece were beautiful...