The National Ballet of Canada

Emerging Arts Critics Programme

Promise for the Future

By David Rudin

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

Posted November 22, 2016

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.

Posted November 19, 2016

Emerging Arts Critics Programme

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.

Posted November 19, 2016

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.

Posted June 21, 2016

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.

Posted June 21, 2016

Emerging Arts Critics Programme

Giselle’s Restless Spirit

By Emily Trace

Traditionally described as ‘the ballerina’s Hamlet’, this production of Giselle by The National Ballet of Canada soundly debunks the adage.

Posted June 21, 2016

A Wild Way Home in Le Petit Prince

Choreography by Guillaume Côté By Mark Mann Le Petit Prince

Le Petit Prince is both a perfect and a problematic choice. Perfect because the story is already furnished with all the necessary components for a conventional ballet, and problematic because Le Petit Prince is actually a dark and confusing book.

Posted June 20, 2016