Birds Of A Feather: Dancer Mary Elizabeth Sell on the Sisterhood of Swans
This fall, Peter Martins’ Swan Lake returns to New York City Ballet for eight performances only. The full-evening ballet, which received its world premiere in 1996 by the Royal Danish Ballet, and was first performed by NYCB in 1999, features scenic and costume design by Per Kirkeby. Here, dancer Mary Elizabeth Sell reflects on being a part of the famed flock of swans.
Evgeny Kissin’s connection to Carnegie Hall is legendary. In
1990, he made his famed debut, launching the Hall’s centennial season. Now—for the Hall’s 125th anniversary—he returns as
a Perspectives artist to curate a series in which he explores his artistic interests and musical discoveries. Throughout
this historic series, the virtuosity, versatility, and penetrating intensity of one of the world’s greatest pianists will be on
full display. In advance of his return to Stern Auditorium / Perelman Stage, Kissin discussed his upcoming concerts with Clive Gillinson, Carnegie Hall’s executive and artistic director.
Houston Ballet closes its 2014-15 season with John Cranko’s wonderfully comic ballet The Taming of the Shrew, based on the play by William Shakespeare. Based on the play by William Shakespeare, John Cranko’s version of The Taming of the Shrew is considered a classic.
It’s here that she began to recover her strength and learn her limits, and build the confidence to know that she needn’t be defined by them. With the backing of the associateship, she can feel free to experiment. “I’m incredibly confident”.
Chick Corea and Herbie Hancock have run on relatively parallel courses since both appeared on the scene in the early 1960s. Both musicians built their reputations on their fervent experimentalism
and rejection of convention.
Though no English writer would dare try to improve upon William Shakespeare’s Romeo and Juliet, certain adaptations, especially in other art forms, can take on such a life of their own that they become—like the play itself—so consummate, it seems hard to imagine the world without them. Perhaps this was never truer
than in the case of Kenneth MacMillan’s 1965 balletic masterpiece of the same title, which is currently celebrating 50 splendid years.