The company has gone through drastic changes since last season, some of which may have come with sorrow. Still they never stopped their devotion to ballet and to the Philadelphia art community.
Pennsylvania Ballet’s LE CORSAIRE is as gorgeous and breath-taking as it should be.
Not only successful as a forum to provide opportunities and experiences to young choreographers and dancers, the Choreographic Workshop was also very well done as a performance.
My choreography is inspired by Shel Silverstein’s poetry and its style is musical
Pennsylvania Ballet II is performing four new dance works created on the dancers of the company by four talented choreographers with deep connection to Philadelphia ballet scene.
Lily Kind uses a recent PA Ballet program to look at what makes a ballet a ballet and what makes a dance a dance.
It uses the same stage, the same music, and the same settings as previous years, but this year’s NUTCRACKER is even more convincing and more magical than before.
PB II performed under clear, blue skies, with William Penn as their backdrop
For the last program of Pennsylvania Ballet’s 2015-2016 season, Angel Corella challenges both the dancers and the audience with the four experimental dances
It would not be too much to say that this has been one of the most exciting and accomplished seasons in Pennsylvania Ballet’s history.
Based on the beloved novel, Don Quixote de la Mancha by Miguel de Cervantes, DON QUIXOTE has been one of the most popular and challenging ballets for over a century.
“There was really only one option,” laughs the Spaniard. “It could only be Don Quixote.”
The selections show artistic director Angel Corella’s close attention to the dancers’ talents and characters and his passion to bring out the best in them.
A holiday tradition for many Philadelphians, the Pennsylvania Ballet’s NUTCRACKER returns for another season.
In his second season as the artistic director of the Pennsylvania Ballet, Angel Corella is hand-picking the entire program for the first time.
As Angel Corella’s first season with Pennsylvania Ballet draws to a close, it’s safe to say that his tenure as the company’s artistic director is off to a very impressive start.
Most balletomanes credit Balanchine with capturing the American spirit in ballet, but to me it’s Jerome Robbins who deserves the accolades.
New artistic director Angel Corella was able to take full advantage of works by George Balanchine, Christopher Wheeldon and a premiere from resident choreographer Matthew Neenan, to start to show his retooling of the company.