Monday, October 31
Posted 31 October 2011 - 12:10 PM
Posted 31 October 2011 - 12:11 PM
One of the biggest adjustments is that "Duets" is rehearsed without music. Eight versions of the music can be used for a performance, and the dancers don't know what's coming until the last minute. "The original score by John Cage was a manipulation of cassette tapes," said Ms. Lent. "Every night was a little different. There was an eight-channel system, and it could be changed in the speakers."
Posted 31 October 2011 - 12:13 PM
These last two pieces were what made Friday's performance so spectacular. Each makes punishing demands on the dancers, requiring them to move in ways that play merry havoc with the requirements of classical ballet and at speeds that seem at the limits of what the human body can do. Yet Tulsa Ballet's dancers gave performances that did not so much push the envelope as shred it into confetti. Every dancer on stage attacked these works with a ferocity and fearlessness that was something to see.
Posted 31 October 2011 - 12:14 PM
Lamb’s gifts, of beautiful physique, of unforced technical authority, are ideally focused in her Aurora. She has the easy grace, the purity, the role demands. Like those great Petersburg Auroras, Irina Kolpakova and Zhanna Ayupova, she does not force her effects or apply the factitious glamour of bravura tricks to show choreography distorted by a ballerina’s ego. The role lives in the exactitude, the sweet clarity of her dancing, which justifies her performance, the role, the score itself.
Posted 31 October 2011 - 12:16 PM
“They go in, buy a ticket and then go back into line just in front of their friends and go back in again. And we’re just left standing here,” said Elena Zabelina, a 55-year old retiree who said she was buying tickets for her son.
Posted 31 October 2011 - 12:18 PM
He agrees that he is to a certain extent continuing the same career, keeping the kernel of the couture he worked on for nearly 30 years. And that he is fortunate in working for grand houses like the Opéra Garnier and the Comédie-Française that allow him to use couture quality fabrics and do hand-tinting and embroideries — but always with the proviso that the dancers have freedom of movement and that sweat-drenched costumes can be easily cleaned.
Posted 03 November 2011 - 02:03 AM
The Rochester, N.Y.-born Goldsborough chatted last week in anticipation of the announcement. He said: “I’m creating a short- and long-term plan that will strengthen Miami City Ballet from a financial perspective.”
“I’d like to see a $30-million endowment for this institution, built over five to 10 years, both from pledges and estate gifts,” he said, noting that the company now has a small endowment of a few million dollars.
Posted 03 November 2011 - 11:26 AM
Posted 05 November 2011 - 04:22 PM
He had an abiding interest in leadership. He would develop an interest in dance, performing for several years in the Oakland Ballet's holiday season rendition of "The Nutcracker."
Then there was the May 1990 night when La Russa rescued a cat that had wandered onto the field during a game. Dismayed to discover there wasn't a no-kill animal shelter in the East Bay to which he could deliver the stray, he began to brainstorm. ARF, created in 1991, is the result.
Posted 11 November 2011 - 03:38 PM
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