CALIFORNIA | LOCAL
June 18, 2005 |
Ross Stretton, a principal dancer with the American Ballet Theatre and later the artistic director of the Australian Ballet, as well as the Royal Ballet of London, has died. He was 53. Stretton died Thursday in Melbourne of melanoma, according to a statement from the Australian Ballet. A native of Canberra, Australia, he became interested in tap dancing as a teenager but changed his career plans after he discovered ballet.
CALIFORNIA | LOCAL
March 4, 2003 |
John Lanchbery, who helped upgrade music for ballet in a 55-year career of conducting, arranging and re-composing scores for many of the world's great companies, has died. He was 79. An artist who believed in attending rehearsals to learn how individual dancers think and what they need from their accompaniment, Lanchbery died of cancer Wednesday in a hospital in Melbourne, Australia, his home city.
May 12, 1995 |
Don't look for much unity in "UNited We Dance," the optimistically labeled festival at the War Memorial Opera House. Helgi Tomasson, head of the San Francisco Ballet and host to dancing guests from a dozen nations, declared lofty aspirations at the outset. "I believe our festival will be a way," he said, "of acknowledging our differences and celebrating our similarities." So far, with nine companies heard from, the differences have far outweighed the similarities.
August 13, 1990 |
Although Serge Lifar dominated French ballet for most of this century, he is virtually unknown in America--except, perhaps, as the dancer for whom George Balanchine created "Apollo" and "Prodigal Son." As a result, the Australian Ballet production of Lifar's 1943 "Suite en Blanc" comes as a revelation: authentic, vintage neoclassicism completely different from the celebrated achievements in that idiom by Balanchine and Frederick Ashton.
August 10, 1990 |
A second set of principals could not entirely energize the Australian Ballet's production of "Giselle" Wednesday at the Orange County Performing Arts Center. But at least the new dancers made Act II somewhat eventful and interesting. Fiona Tonkin brought wide-eyed naivete to Giselle, registering emotions broadly on her face. But she was so self-effacing and childlike that one could hardly credit Albrecht's interest in her.
August 9, 1990 |
There's a passage early in the second act of the Australian Ballet "Giselle" where Ulrike Lytton's icy force as Myrta and John Lanchbery's swift, urgent conducting momentarily propel the company beyond glazed rectitude into something like glory. Here, in the allegro ensemble preceding Giselle's entrance from the grave, we watch the full potential of 19 women and the full power of "Giselle" as Romantic dance-drama mutually realized.