From the category archives:

Going to the Ballet

Ratmansky & Welch in Berlin

by Emilia on April 14, 2014

At the start of the Ratmansky/Welch double bill at Staatsballett Berlin last week, Linda and I did our maths while enjoying a drink at the Schiller Theatre: together, we have now seen 22 Ratmansky works, having travelled over 9,000 miles (excluding the miles on the way back!) for them. Namouna, a Grand Divertissement, originally made for [...]


by Linda on June 9, 2011

A few months ago we wrote about what makes a dancer graceful. When looking at elements of Grace, we mentioned  musicality as a quality in dancers that “will trick you into forgetting about the orchestra pit and thinking that his or her movement is creating the music.” Musicality is a common discussion theme between balletomanes [...]

The Japanese are well-known for their quirky and unique fashion sense. When in Tokyo, fashionista types head straight to the  Harajuku area for inspiration, but in truth ideas for one’s lookbooks can be found anywhere in town, including ballet outings. At the Royal Opera House in London clothes typically range anywhere from the ultra formal [...]

The Royal Danish Ballet Rocks!

by Emilia on February 18, 2010

We are back from Copenhagen with a suitcase full of ballet goodies. We went there especially to catch The Royal Danish Ballet’s Bournonville & Balanchine Programme which had  gorgeous La Sylphide paired with glorious Symphony in C. During our stay we were granted access to The Royal Danish Ballet’s headquarters. Needless to say we were [...]


by Emilia on September 7, 2009

From the moment Marie Taglioni put on her ballet shoes and stood on pointe the cult of the ballerina took flight. The ballerina, the female expert in the art of ballet who lives and suffers for her art, is forever associated with intrinsic qualities of lightness and grace. But just like Mr. Darcy’s remarks on [...]

Talk to me, Dance with me

by Emilia on August 28, 2009

The Mariinsky visit to London a few weeks ago and in particular the fact that they brought mime-less Soviet adaptations of ballet classics with them, generated much discussion among Covent Garden audiences about the importance of mime in ballet. When Konstantin Sergeyev revisited works such as Swan Lake, The Sleeping Beauty and Le Corsaire in [...]