Saturday, November 26
Posted 26 November 2011 - 11:21 AM
“One important thing I learned from (company founder) Celia Franca was that a company can only ensure its future through new creations,” said Kain in her brief address at the reception before she excused herself to rejoin a benefit dinner upstairs for major donors.
Wooing donors is something that has not changed since Franca’s day, as Carol Bishop-Gwyn repeatedly makes clear in her new biography of Franca, The Pursuit of Perfection (a juicy read that’s at once sympathetic and critical of that controversial grande dame). With this book and with James Neufeld’s newly updated history of the NBC, Passion to Dance, fans can get an inside look at the intrigues and sometimes bitter politics as well as the exceptional talents that forged Canada’s biggest dance company.
Posted 26 November 2011 - 11:24 AM
More than 50 dancers in the cast travel from across the Tri-Cities and Southwest Virginia to train at Kingsport Ballet and to participate in its “Nutcracker” production. Kingsport Ballet’s production features guest appearances by several professional artists.
Among this year’s professionals is Sergey Gorbatov of Saint Petersburg, Russia’s, who takes the NPAC stage as Herr Drosselmeyer. Gorbatov trained with and taught at the Vaganova School of the Maryinski Theatre and has been a guest with Kingsport Ballet productions in the past. He has taught and performed internationally and will share his talents with the East Tennessee community at Kingsport Ballet this season.
Posted 26 November 2011 - 11:26 AM
The audience sang Happy Birthday to Sir Peter Wright before the curtain went up on the 21st season of his marvellous and extraordinary The Nutcracker, at Birmingham Hippodrome.
Sir Peter was celebrating a glorious 85th year and was joined by the great and the good, with the Lord Mayor of Birmingham and other civic dignatories enjoying a magical evening of top flight ballet.
Posted 26 November 2011 - 11:29 AM
"I came to Moscow to see the ballet at the Bolshoi Theatre, not for football," the England manager , who leaves his job next year, said. "I was invited here and just couldn't turn it down."
Posted 26 November 2011 - 11:30 AM
Curran, 35, is leaving in his prime, of his own volition, and with a detailed plan for the future. Not for him the crippling pain that can be ignored no longer or the gentle tap on the back from his artistic director to signal time's up.
"I want to be a leader in the Australian arts industry," he says, confirming he has put his name forward for the artistic directorship of Queensland Ballet. The role is not available until 2014, when current director Francois Klaus retires, and Curran makes it clear he is merely one candidate among many. "I've gone through the process with a healthy dose of reality," he says.
Posted 26 November 2011 - 11:32 AM
The famous ballet takes to the stage at the Civic Theatre in Auckland next week, with 32 dancers, choreographed by Greg Horsman, nearing the completion of a six-week national tour.
The sumptuous sets, props, masks and costumes are all new, designed by former RNZB artistic director Gary Harris. A total of 200 costumes have been created in-house, each with shoes to match, with 70 headdresses, hats and tiaras, five sets of fairy wings, and 30 tutus with 5000 sequins sewn on by hand.
Posted 26 November 2011 - 11:41 AM
Special effects – fog, cannon fire, magical Christmas tree that grows – all were taken up a couple notches in the company's second season under artistic director Patricia Barker.
Mikayla Geier danced a spunky Clara, and Calin Radulescu, a former GRBC professional dancer, teaching dance at Grand Valley State University ever since, returned to play a dashing and debonair Drosselmeyer.
Posted 28 November 2011 - 12:00 PM
The wonders did not cease, beginning with the ballet's elaborate Sendak sets, which fill the stage yet at the same time are full of whimsical details. (Hint: look for a Sendak beastie during the boat scene.)
Tchaikovsky's music was bright and joyful under the baton of PNB music director Emil de Cou. You've heard many of the tunes before, in advertisements and films, but hearing them played as dancers' accompaniment reminds you that this music is not a Christmas cliché — rather, it's a living, breathing thing.
0 user(s) are reading this topic
0 members, 0 guests, 0 anonymous users
Help support Ballet Alert! and Ballet Talk for Dancers year round by using this search box for your amazon.com purchases (adblockers may block display):