Dance review: Israel Ballet

Perhaps next time, Galili will have a chance to present other facets of his creativity and wider range of his sensitivities.

By ORA BRAFMAN
November 19, 2012 21:59
1 minute read.
Israel Ballet

Ballet. (photo credit: Andrew Ross)

 
X

Dear Reader,
As you can imagine, more people are reading The Jerusalem Post than ever before. Nevertheless, traditional business models are no longer sustainable and high-quality publications, like ours, are being forced to look for new ways to keep going. Unlike many other news organizations, we have not put up a paywall. We want to keep our journalism open and accessible and be able to keep providing you with news and analyses from the frontlines of Israel, the Middle East and the Jewish World.

As one of our loyal readers, we ask you to be our partner.

For $5 a month you will receive access to the following:

  • A user uxperience almost completely free of ads
  • Access to our Premium Section and our monthly magazine to learn Hebrew, Ivrit
  • Content from the award-winning Jerusalem Repor
  • A brand new ePaper featuring the daily newspaper as it appears in print in Israel

Help us grow and continue telling Israel’s story to the world.

Thank you,

Ronit Hasin-Hochman, CEO, Jerusalem Post Group
Yaakov Katz, Editor-in-Chief

UPGRADE YOUR JPOST EXPERIENCE FOR 5$ PER MONTH Show me later Don't show it again

Just over a year ago, the Israel Ballet dived head-first into the exciting, deep waters of contemporary ballet, a genre that took dance by storm in the Eighties after maverick creator William Forsyth redefined its borders.

In recent years the Israel Ballet had taken a few steps forward in terms of dance and production values, but remained stuck with classical repertoire or neo-classical works arranged and choreographed almost exclusively by company founder Berta Yampolsky, due to economic constrains.

Be the first to know - Join our Facebook page.


In order to upgrade and update the repertoire, the company invited Itzik Galili last year as a test case. Galili, an ex- Batsheva dancer, moved to Holland 20 years ago and soon became recognized as a talented, prolific creator with dozens of works for a long line of important companies.

The prodigal son returned last year and conquered local audiences with Hikarizatto, a dynamic, very technical and demanding creation flooded with impressive lighting effects – by Yaron Abulafia – and hard-bitten, simplistic percussion music.

The dancers loved it; finally they had entered the 21st century. Soon he was invited back for a full evening that included last year’s piece and three shorter works on rather similar lines: lots of quick lifts, supported splits, swaying hips and Capoeira-based moves.

The best, more complex piece of the evening was And the Earth Shall Bear Again (2012), set to brilliant score by John Cage. In terms of dancing, Elise Caberra and Mikhail Kaniskin, guests from Berlin State Opera, that performed the short duet Mono Lisa, took the prize. Both are brilliant dancers, but Caberra’s elegant, energy conserving and effortless virtuoso moves marked the next benchmark the company should strive toward.

Perhaps next time, Galili will have a chance to present other facets of his creativity and wider range of his sensitivities. Welcome home.


Related Content

Sarah Silverman
August 26, 2014
Jewish women take home gold at 2014 Emmys

By JTA