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[dirac]

Reviews of the Birmingham Royal Ballet.

Shropshire Star

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In seeking to describe Birmingham Royal Ballet’s production of Carmina Burana – which is one half of their present Passion and Ecstasy production – all superlatives seem inadequate.

It is beyond sensational, beyond moving, beyond thrilling. BRB director David Bintley has created a masterwork that will live long in the memories of those who witnessed his electrifying, tender and deeply intelligent work.

The Stage

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Joseph Caley and Nao Sakuma proved to be perfect partners, commanding the stage with grace and precision, and once again proving their value to what is regarded nowadays as one of the world’s top ballet companies.

Bintley’s totally fascinating Carmina Burana, backed sensationally by Carl Orff’s thunderous music and a splendid set by Philip Prowse, follows the fortunes of three seminarians as they reject their faith for the pleasures of the flesh.

[dirac]

John Meehan talks about his long association with "The Merry Widow."

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He almost didn't get the role: when Hynd came to watch the company, Meehan, then 24, was in a bad temper and danced badly. "I was moody and pouting," he explains, "and Hynd apparently said that he didn't want that 'sulky boy' anywhere near his ballet."

Meehan cheered up and Hynd was impressed enough, when he saw him dance Romeo, to cast him.

[dirac]

An Australian survey suggests that people are eager to have access to the arts online.

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The twin Australia Council studies, called Arts Audiences Online and Arts Organisations Online, identify the Australian Ballet as a company that has made innovative use of digital media.

The AB's website includes picture galleries, video and background information. The company also maintains a Facebook page, a YouTube channel and a Behind Ballet blog, with contributors including senior artist Juliet Burnett.

[dirac]

Kirsty Martin announces her retirement.

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In 2009, Martin became the first Australian dancer to win the international dance award, Benois de la Danse.

She has two children with her partner, former AB principal artist Damien Welch, and says she is looking forward to enjoying more time with her family. "I've been so fortunate to have had such a long and rich career," she says. "I've had the support of my family and the ballet in balancing my on-stage roles with my off-stage role as a mum."

[dirac]

Miami City Ballet posts a video about the company's forthcoming visit to Paris.

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The tongue-in-cheek results, posted in a video on the troupe’s website, should captivate all but the kind of snooty cultural purists who gave French fries a bad name. Handsome lead dancer Yann Trividic (who actually is French), beret tilted almost down to his dangling cigarette, hoisting a glass of wine, grades their efforts with the kind of effortlessly loutish élan that has captivated generations of American girls on semesters abroad.

While some earnestly show off their skills in ordering croissant and coffee, others resort to song. Bradley Dunlap channels famous femme Lady Marmalade with “voulez-vous couchez avec-moi?” and Jennifer Kronenberg refers to a historic friar by reciting “ Frere Jacques, dormez-vous?”

[dirac]

A review of the opening night of Ballet Concerto's Summer Dance Concert by Mark Lowry in The Fort Worth Star-Telegram.

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It was, simply put, one of the group's best shows in years. Not even the cicadas or occasional siren could compete with the attention Ballet Concerto commanded.

It started with Raymonda Suite, choreography after Marius Petipa and staged by Webster Dean to music by Alexander Glazunov. This is where the three T's came in. Name any classical ballet move and this company did it, with captivating solos and a duet in the six variations in the middle.

[dirac]

Memphis Ballet announces the lineup for its 2011-12 season.

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Other season highlights include "Angels in the Architecture," Mark Godden's Shaker-inspired work set to "Appalachian Spring," and company member Steven McMahon's production of "Cinderella" from the 2008-09 season.

[dirac]

A profile of Nikolai Tsiskaridze.

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At the Bolshoi he is famous for his demanding character. His relationship with Anatoly Iksanov, the theater’s general manager, is falling apart at the seams.

The dancer irks the Bolshoi’s administration with his public criticism, complaining about the poor state of dancers’ changing rooms, the uncomfortable dance floor and equipment that needs replacing. “Maybe I irritate him; I don’t care,” said Tsiskaridze in an interview after a rehearsal for the show. “The theater’s managers come and go, and I will stay,” he added.