Ever heard of freelance dancing?
Independent ballet dancers Joseph Gatti and Adiarys Almeida — formerly
of the Cincinnati Ballet — stepped out as free agents this past July,
following five years of contracts with some illustrious international
Over-the-Rhine’s Memorial Hall, the
Tiffany-chandeliered, 1908 Beaux-Arts treasure teeming with handcrafted
details in marble, wood and plaster, is tucked at Grant and Elm streets,
next to Music Hall. The space is said to be haunted by the figure of a
Civil War-era soldier who materializes in one of the steep balconies.
It’s perhaps the most iconic dance segment in the world-famous 19th-century ballet Swan Lake.
It begins in Act II, when enchanted swan maidens, costumed in pristine
white tutus, enter a moonlit lakeside scene one by one in what’s often
been called the greatest possible accomplishment for a corps de ballet.
Pilobolus Dance Theatre has never been a
typical dance company. From its origins at Dartmouth College in 1971,
its nonconformity and evolution are in its DNA and have enabled the
company to flourish where it will — much like the sun-loving fungus
after which it’s named.
Few things good ever come easily, or
without stepping outside one’s comfort zone. But persistence paid off in
Cincinnati Ballet’s pursuit of Peter Frampton, the Grammy-winning
guitar hero with a career spanning decades.
When someone falls in love with dance,
it’s often a lifetime experience. It’s been that way for Jefferson
James, founder, artistic director and CEO of Contemporary Dance Theater, today Cincinnati’s premiere presenter of a diversity of
Partnering gets taken to the next level in Cincinnati Ballet’s Romeo & Juliet
this weekend. Not only has much of the choreography changed since the
company premiered this production five years ago, but the people
involved have also evolved.
Do you know when you go to a dance
concert — or any formal performance — and they ask you to turn off your
phones? Well, that won’t be happening when ZviDance performs Zoom
at the Aronoff Center this weekend
Let’s cut to the chase: Dead Can Dance
is no ordinary dance show. True to form, Cincinnati-based Exhale Dance
Tribe pushes a range of artistic and stylistic boundaries in this
As its name suggests, Cincinnati Ballet’s Kaplan New Works Series prides itself on moving dance forward. You can count on the company’s annual season opener to be modern-slanted, edgy even. But for the first time, all of the choreographers on the New Works bill are women.
It’s a rare person today who sticks to
the same career path — let alone the same position — for more than a
handful of years. How about four-plus decades? Enter Maestro Carmon DeLeone, Cincinnati Ballet’s music director for 43 seasons running.
Fairy tales, however fantastical, are more
than mere fluff. Try mining them for more meaning and mixing them with
modern dance. This seems like the most natural thing in the world for
internationally recognized choreographer/artistic director Robert Moses.
At heart, Carmen is a sensual
story of passion. Putting a daring new spin on one of the best-known and
beloved stories of opera repertoire sounds like a tall order. But internationally renowned
choreographer Amedeo Amodio is perfectly suited to create a
contemporary-infused dance version.