Dancing Times’ May issue is out now, with a glorious cover featuring Margot Fonteyn – the only dancer to be given the title prima ballerina assoluta by The Royal Ballet – who was born 100 years ago on 18 May. The magazine celebrates the centenary of Fonteyn's birth with articles by The Royal Ballet’s director Kevin O’Hare, dance critic Alastair Macaulay, and the Royal Academy … [Read more...] about Dancing Times, May edition – including Gramilano’s Danza in Italia column reviewing world premieres of Winterreise and Carmen
The latest Dancing Times magazine is now on sale. The August 2018 issue contains my latest Danza in Italia column with thoughts on the new Le Corsaire by Anna-Marie Holmes at La Scala, with company dancers Nicoletta Manni, Timofej Andrijashenko, Martina Arduino and Mattia Semperboni. The theatre also dedicated a series of evenings to Rudolf Nureyev to mark the 80 years since he … [Read more...] about Dancing Times, August 2018 out now – including latest Danza in Italia column
If you are a ballet lover, use Twitter and don't yet follow the New York Times's Alastair Macaulay, you really should. His timeline is a witty mix of ballet facts and observations, and world views and opinions. He has probably seen more productions of The Nutcracker than any other living soul, so who better to provide the 'rules' for a traditional Nutcracker. He kicks off … [Read more...] about Alastair Macaulay’s A-G of Nutcracker rules!
According to the Wall Street Journal the New York audience was on its feet to applaud the opening of Anna Karenina with the Mariinsky Ballet. Alastair Macaulay in The New York Times was not impressed. As bad ballets go, Alexei Ratmansky’s two-act “Anna Karenina” is one of the best. It tells its potted version of Tolstoy’s novel with a fair bit of narrative clarity; it manages … [Read more...] about Ouch! The NY Times’ Alastair Macaulay strikes a blow at Ratmansky’s ‘Anna Karenina’
Swan Lake's Rothbart is an extraordinary important character; his power and evilness must be believable if we are to empathise with poor Odette. Yet often the role is almost laughable in its insignificance or its hammy "baddie" acting with lots of cape swishing. The La Scala production for a few years - the Vladimir Bourmeister choreography with Roberta Guidi di Bagno's … [Read more...] about Who is Rothbart? An evil Mephistopheles or “a large lump of diseased moss”?