5 replies to this topic

[dirac]

Obituaries for Robert Ivey, who died yesterday.

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... Born in Australia in the 1930s, Ivey came to the United States as a high school student following the death of his parents.

Founder and artistic director of the Robert Ivey Ballet and director at the Robert Ivey Ballet School, he studied ballet at the American Ballet Theatre School while attending Columbia University in New York as a pre-med student in the 1950s, eventually earning a degree in radiology before turning to dance full time. Ivey later would study at the Ballet Arts School in Carnegie Hall.

Obit with video.

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Robert Ivey, a Charleston icon, passed away Friday morning. He was well known in the community as a dancer, choreographer and through the years he played a major role in Piccolo Spoleto, was the president of the Charleston Area Arts Council and started a dance minor program at the College of Charleston. Friends said he’s been ill since he suffered a stroke in June.

[dirac]

An appreciation of Ivey in The Post and Courier.

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Even in a city identified with the arts, it isn't easy to keep an arts organization going. Mr. Ivey did. He was a teacher with rigorous standards who prepared two students for Broadway careers and one, Robert Carter, for the star position in a Monte Carlo ballet company.

His students also danced with the Robert Ivey Ballet Company, which toured Denmark, Russia and the coast of Spain, and performed in China, Sweden and Morocco and Cali, Colombia. And his work as a choreographer gave him an important role with local theater companies.

[dirac]

Aspen Santa Fe Ballet will appear at the St. Sauveur Arts Festival.

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Aspen Santa Fe Ballet will pick up at the festival where it left off a few years ago with a mixed program that includes a work by Nicolo Fonte called - wait for it - Where We Left Off. The company has seven works by the Brooklyn-born choreographer who, some Montrealers will recall, once performed with Les Grands Ballets Canadiens. Fonte later began forging his choreographic identity while dancing for several years with Nacho Duato's Compania Nacional de Danza.

[dirac]

DanzAbiertaof Cuba debuts at Jacob's Pillow.

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The very good news is that the DanzAbierta dancers, like their classical brethren, are skilled, fluid, and daring performers, and - unlike the Soviet-era choreographers, with their famously dreary propaganda ballets - it seems that Cuban dancemakers are free not only to comment upon, but also to question their status quo, albeit obliquely.

[dirac]

An item on Ballet Manila's reception in Ireland.

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Abadilla was “very pleased" with the media reviews and the reaction of the predominantly Irish audience, the DFA said, noting that members of the audience gave the finale a standing ovation.

In the audience were two Irish cabinet ministers and several Irish government and business personalities, according to the DFA.

[dirac]

A review of the Mariinsky (Kirov) Ballet by Joan Acocella in The New Yorker's blog.

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But wonderful is not the word for the Ivanushka I saw—Vladimir Shklyarov, who was both an innocent, tousle-haired boy and a thrilling classical dancer. Ratmansky gave him the goods he needed: great, aching renversés, plus fabulous, intricate jumps, but not too many of them, so he wouldn’t seem a show-off. You wanted to take him home.