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Emerging Arts Critics Programme

 
Emerging Arts Critics Programme

Forget the Sylph: Where’s Effie?

By Marissa Trarback

In the midst of The National Ballet of Canada’s beautifully rendered performance of La Sylphide at the Four Seasons Centre for the Performing Arts, one might just wonder: where is Effie?

 
Emerging Arts Critics Programme

Competing Priorities

By Aziza Mohammed

While giving the story a subtly contemporary treatment relatable to the modern audience, The National Ballet of Canada’s production of La Sylphide explored the relationship between sacrifice and happiness in a faithful rendition of one of the world’s oldest ballets.

 
Emerging Arts Critics Programme

When Chasing the Sylph…

By Liz Ostil

Set to the traditional score by Herman Severin Løvenskjold, The National Ballet of Canada’s production of La Sylphide revisits one of the oldest classical ballets.

 
Emerging Arts Critics Programme

A Spectacular Tradition

By Grace Wells-Smith

True to its promise, The Nutcracker by The National Ballet of Canada delivers the magic and nostalgia awaited all year round by thousands.

 
Emerging Arts Critics Programme

In its Original Russian

By Emily Trace

James Kudelka’s interpretation of The Nutcracker for The National Ballet of Canada is disarmingly heartfelt.

 
Emerging Arts Critics Programme

Ratmansky’s Romeo and Juliet Finds Balance Between Traditional and Contemporary

By Michael Morreale

In The National Ballet of Canada’s production of Romeo and Juliet, renowned choreographer Alexei Ratmansky distills Shakespeare’s tragic tale of two young lovers with a gentle hand.

 
Emerging Arts Critics Programme

Trios to Duet

By Lucinda Rajaselvan

Guillaume Côté and Elena Lobsanova play the lead roles in Romeo and Juliet, a timeless story of love, humour, tragedy and a deadly blood feud, danced to the famous score by Sergei Prokofiev.

 
Emerging Arts Critics Programme

A Colourful Success

By Matthew Pariselli

The Winter’s Tale is considered one of William Shakespeare’s problem plays, richer in texture than in vibrancy.

 
Emerging Arts Critics Programme

A Worthy Addition to the Ballet Bookshelf

By Anne Cass

When Christopher Wheeldon debuted his adaptation of The Winter’s Tale with The Royal Ballet at Covent Garden in April 2014, the story was untouched by classical ballet.

 
Emerging Arts Critics Programme

Happily Ever After

By Deanne Kearney

The Sleeping Beauty has been performed by The National Ballet of Canada in 1972, 1987, 2006 and excitingly now in 2015.

 
Emerging Arts Critics Programme

Ratmansky & Côté: An Effective Juxtaposition

By Christina Strynatka

What does it mean to find yourself? Is it better to follow a definite narrative, as seen in Guillaume Côté’s Being and Nothingness on the National Ballet’s Ratmansky and Côté program (May 31 performance), or to take a more abstract form, as in the other two pieces on the program, Alexei Ratmansky’s Symphony #9 and Piano Concerto #1?

 
Emerging Arts Critics Programme

Beautiful Choices in Ratmansky and Côté

By Naya Valdellon

When the curtain lifts on The National Ballet of Canada’s Ratmansky & Côté, the theatre lights remain on.

 
Emerging Arts Critics Programme

Staging Wonderland

By Sabrina Bellisimo

The National Ballet of Canada’s (NBoC) Alice’s Adventures in Wonderland is a fantastical adventure that will draw you in and keep you captivated through every step and every note.

 
Emerging Arts Critics Programme

It’s a Mad and Wonderful World: Alice’s Adventures in Wonderland

By Naya Valdellon

Carroll’s madcap logic and playfulness survives – and thrives! – in The National Ballet of Canada’s delightful Alice’s Adventures in Wonderland, which had its Toronto premiere in 2011.

 
Emerging Arts Critics Programme

Alice’s Adventures in Wonderland Review

By Deanne Kearney

With 146 bodies involved both on- and offstage in The National Ballet of Canada’s (NBoC) Alice’s Adventures in Wonderland, the production is certainly quite magnificent in size and creation.

 
Emerging Arts Critics Programme

Diversity and Delight

By Colleen Snell

A mixed bill presented by The National Ballet of Canada (NBoC) showcased an extraordinary artistic range. Artistic Director Karen Kain masterfully curated a program to please traditionalists while satisfying a need for audacious and contemporary ballet.

 
Emerging Arts Critics Programme

The Man in Black

By Victoria Bégin

The program opened with Allegro Brillante, a joyous dance set to Tchaikovsky’s Piano Concerto No. 3. On a stage of dancers clad in soft colours, the ever-smiling Xiao Nan Yu regularly performed a series of beautifully executed piqué turns that expressed her joy and affection for McGee Maddox.

 
Emerging Arts Critics Programme

The Man in Black with Chroma & Allegro Brillante & Carousel (A Dance)

By Christina Strynatka

When you’ve established yourself the way the National Ballet of Canada has, it could become easy to rest on your laurels and congratulate yourself on a job well done. In that respect, much credit goes to the company for going out on a limb with The Man in Black, Chroma, Allegro Brillante and Carousel (A Dance).

 
Emerging Arts Critics Programme

The Nutcracker’s Unforeseen Delights

By Naya Valdellon

For two decades, The National Ballet of Canada has been enchanting audiences with James Kudelka’s feel-good Christmas classic, The Nutcracker. But on opening night, the show was filled with a flurry of surprises, not just for the children who occupied a large number of seats at the Four Seasons Centre, but for the performers, who proved they can handle just about anything with grace.

 
Emerging Arts Critics Programme

Nijinsky

By Sabrina Bellisimo

The National Ballet of Canada’s Nijinsky is an emotional, enthralling and technically brilliant work in two acts. On opening night, National Ballet of Canada veteran Guillaume Côté reprised his role as the titular Nijinsky, combining raw emotion with technical excellence.

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