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Emerging Arts Critics Programme

Artists of The National Ballet of Canada in The Winter’s Tale / Photo by Karolina Kuras
 
Emerging Arts Critics Programme

A Study in Contrasts: The Winter's Tale

By Jaimie Nackan

Toronto’s first snowfall of the season arrived just in time to welcome the November 10 opening night performance of “The Winter’s Tale” by The National Ballet of Canada.

Jillian Vanstone, Hannah Fischer and Piotr Stanczyk in The Winter’s Tale / Photo by Karolina Kuras
 
Emerging Arts Critics Programme

Definitive Motif in The Winter’s Tale

By Arianna Benincasa

Choreographed by Christopher Wheeldon, “The Winter’s Tale” takes a contemporary approach to Shakespeare’s comedic, romantic and tragic “problem play” about jealousy, familial bonds and love.

Guillaume Côté and Heather Ogden in Swan Lake / Photo by David Cooper
 
Emerging Arts Critics Programme

Somber Classic Gives National Ballet Stars Time to Shine

By Annick MacAskill

The National Ballet of Canada explores the dark side of love in a regal production of choreographer James Kudelka’s Swan Lake, which opened at the Four Seasons Centre Thursday night.

Artists of The National Ballet of Canada in Swan Lake / Photo by Aleksandar Antonijevic
 
Emerging Arts Critics Programme

A Triumphant Opening

By Rya Marrelli

The Four Seasons Centre for the Performing Arts came alive at the triumphant opening night of The National Ballet of Canada’s Swan Lake on June 15.

Jillian Vanstone and Guillaume Côté in A Streetcar Named Desire / Photo by Aleksandar Antonijevic.
 
Emerging Arts Critics Programme

The Demise of Desire

By Annick MacAskill

The National Ballet of Canada’s premiere of choreographer John Neumeier’s A Streetcar Named Desire is an aesthetic triumph and a thought-provoking comment on the destructive nature of repressed sexuality and violence.

Sonia Rodriguez in A Streetcar Named Desire / Photo by Aleksandar Antonijevic
 
Emerging Arts Critics Programme

A Haunting Ballet That Does Not Leave the Mind

By Victoria Ellingham

As the audience filtered in to take their seats at the Four Seasons Centre on the evening of June 3rd, they were met with the sight of a lone chair, haphazardly left on its side in the middle of stage.

Svetlana Lunkina in Wayne McGregor’s Genus / Photo by Aleksandar Antonijevic
 
Emerging Arts Critics Programme

All in Sequence

By David Rudin

Wayne McGregor’s Genus and Jerome Robbins’ The Concert are both elaborate choreographies that hinge on the smallest of movements – the twitch of a finger, the crook of an elbow or the flick of a wrist.

Evan McKie and Tanya Howard in Wayne McGregor’s Genus / Photo by Aleksandar Antonijevic
 
Emerging Arts Critics Programme

Truly Mixed: Genus, Tarantella, Self and Soul and The Concert

By Valeria Nunziato

Four disparate works, precisely crafted by four distinguished artists, make one inspiring collection of dance for The National Ballet of Canada’s mixed program.

Robert Stephen, Brent Parolin, Skylar Campbell as Pinocchio and Alexandra MacDonald in The National Ballet of Canada’s Pinocchio / Photo by Aleksandar Antonijevic
 
Emerging Arts Critics Programme

Will Tuckett’s Pinocchio: A Canadian Talkie Ballet

By Dina Ginzburg

From plaid-clad, bearded lumberjacks, to backdrops evoking Group of Seven paintings, to a monstrous whale inhabiting the waters of a Nova Scotian fishing village, The National Ballet of Canada’s Pinocchio pays homage to the country hosting British choreographer Will Tuckett.

Skylar Campbell as Pinocchio and Artists of the Ballet in The National Ballet of Canada’s Pinocchio / Photo by Aleksandar Antonijevic
 
Emerging Arts Critics Programme

Pinocchio: Hybridized Ballet

By Sabrina Papas

If the audience of the opening night performance of Pinocchio was expecting a wholly classic, balletic rendition when the curtain rose, choreographer Will Tuckett defied those expectations.

Jillian Vanstone and Skylar Campbell in The Nutcracker / Photo by Alexandar Antonijevic
 
Emerging Arts Critics Programme

Performing the Magic

By Valeria Nunziato

For anyone in search of some extra holiday spirit this season, The National Ballet of Canada’s rendition of The Nutcracker certainly does not fall short.

Jillian Vanstone in The Nutcracker / Photo by Alexandar Antonijevic
 
Emerging Arts Critics Programme

A Christmas Reverie

By Sabrina Papas

Performed annually by The National Ballet of Canada, The Nutcracker invites adults and children of all ages into a mystical holiday landscape.

 
Emerging Arts Critics Programme

Onegin

By Rya Marrelli

The exquisite screen of Russian writing at the front of the stage at the Four Seasons Centre for the Performing Arts begins the beautiful work that is choreographer John Cranko’s Onegin.

 
Emerging Arts Critics Programme

Onegin

By Sebastiano Bazzichetto

From the very first note, Tchaikovsky’s Onegin score enchanted, carrying the audience back to the sumptuous days of Imperial Russia.

 
Emerging Arts Critics Programme

Harbingers of the Future

By Sebastiano Bazzichetto

The future of ballet holds great promise, judging from what was on display last Tuesday during the evening of the Twelfth International Competition for the Erik Bruhn Prize.

 
Emerging Arts Critics Programme

Promise for the Future

By David Rudin

Promise for the future, it turns out, can be entertaining in the present.

 
Emerging Arts Critics Programme

Cinderella

By Dina Ginzburg

A great performance requires more than exquisite technique, as National Ballet of Canada principal dancers Sonia Rodriguez and Guillaume Côté continue to prove.

 
Emerging Arts Critics Programme

Cinderella in the Jazz Age

By Victoria Ellingham

The National Ballet of Canada’s Cinderella is certainly not aiming to be flowery. The moment the lights engulf the stage on opening night, November 12, it is obvious this will not be another baroque production.

 
Emerging Arts Critics Programme

A Medley of Magic and Madness

By Marissa Trarback

Before a single dancer appears on stage opening night at The National Ballet of Canada’s production of Giselle, a medley of magic and madness already fills the air.

 
Emerging Arts Critics Programme

Sin and Un-Earned Redemption

By Aziza Mohammed

An innocent peasant girl, a prince in disguise, and an undead queen. Saccharine leitmotifs and the most enthusiastic use of triangle in any orchestral work. Giselle has it all.

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