The best of Bintley’s own contributions are the dances for the men: the opening chorus of avid, restlessly leaping seminarians; Mathias Dingman as a religious runaway who grabs at the air as he races towards freedom and doom. Other sections feel more thinly imagined…
CARMINA BURANA is a flat-out brutal pastiche of medieval religious obsessions. It is also, with its cast of thousands, a perfect window on to this superb company of dancers.
This celebratory double bill from Birmingham Royal Ballet presented ballets that were significant trailblazers. George Balanchine’s Serenade founded the school of American ballet; and David Bintley’s Carmi… Continue Reading
Akram Khan, despite the potent fluidity of his masque-like narrative with Honji Wang, was a cherry, albeit a very beautiful one, on a largely musical cake
In her veritable toccata of a solo, Wang played her body like a keyboard, each bone and joint as singular as the notes of a piano.
Obraztsova’s sweet lyricism draws qualities of vulnerability and inwardness from McRae’s cool finesse that many other ballerinas fail to elicit, and between them they have an exceptional musical and physical rapport.
Watching ENB perform William Forsythe is a bit like hearing a convent girl swear. It’s not really in the company’s DNA. But the nine-strong cast give Forsythe’s In the Middle, Somewhat Elevated their best shot, and it’s a joy to see them let rip.