8 replies to this topic

[Mme. Hermine]

Ron Cunningham and Carinne Binda reminisce about making and dancing Sacramento Ballet's Cinderella.

http://www.sacbee.co...sacramento.html

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On opening night, with first-date-style jitters, Cunningham watched his ballet unfold onstage. A guest, Madame Prokofiev, the widow of the Russian composer, was seated next to him. "Madame sat, stone-faced. She didn't have any reaction," Cunningham said. "She whispered about how her husband debuted the ballet and all the things he did with the corps de ballet and the fairies, and I was sinking into my chair."

Then, Madame Prokofiev lit the spark. "For all of that, you should be very proud of your achievement," she said to Cunningham.

[Mme. Hermine]

Tulsa Ballet will dance Edwaard Liang's "Romeo and Juliet":

http://www.tulsaworl...D1_CUTLIN238696

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"It's one of those ballets I never danced," Liang said, during a break in rehearsals at Tulsa Ballet, which is preparing for the world premiere of Liang's full-length ballet, based on Shakespeare's timeless romantic tragedy.

"But I believe that works to my advantage," he said. "I'm able to come to this ballet with no preconceptions, no memories of what I might have done in the past."

Liang's "Romeo and Juliet" is the first full-length ballet Tulsa Ballet has commissioned in its history. And it's also Liang's own first foray into creating a single dance work of this size and scale.

[Mme. Hermine]

Richmond Ballet revives its production of "Coppélia."

http://www2.timesdis...erf-ar-1656895/

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Malcolm Burn remembers dancing in "Coppélia" when he was 19.

To hear him tell it, that was a few years ago, though the endearing 19th-century comic piece about love and dolls is still a favorite of the Richmond Ballet's artistic associate and ballet master.

[Mme. Hermine]

Boston Ballet will present a triple bill:

http://bostonglobe.c...ajII/story.html

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“Fredi, can you come closer?’’ Russell Kaiser, one of Boston Ballet’s four ballet masters, is talking to the company’s principal pianist, Freda Locker, asking her to move her piano out of its corner and nearer to the dancers. “Always want to be closer to Stravinsky,’’ he observes, walking over to help her.

[Mme. Hermine]

Review of a triple bill by Pittsburgh Ballet Theater:

http://www.pittsburg...etworkHeadlines

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Pittsburgh Ballet Theater made its debut this week at the August Wilson Center with a program fittingly called "Uncommon." In presenting three non-narrative ballets by three outstanding choreographers in chronological order, the last a world premiere, the program offered convincing evidence of an art form progressing.

[Mme. Hermine]

Mariafrancesca Garritano is fired from La Scala after making statements to the press about anorexia:

http://www.dailymail...d-anorexia.html

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Mariafrancesca Garritano, 33,claimed that one in five ballerinas suffer from anorexia - and her words did not seem to impress her bosses at the Milan-based dance-school.

She has been summarily sacked - as the company prepares for it's new season - for 'damaging the brand'.

[Mme. Hermine]

An item on the resignation of Sergei Polunin from the Royal Ballet by Adam Helliker in The Sunday Express.

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The mystery surrounding the sudden departure of the Royal Ballet star Sergei Polunin deepens; now the Ukrainian prodigy is refusing to answer calls from his friends.

[Mme. Hermine]

The Royal Ballet is reviewed in "The Dream" and "Song of the Earth":

http://www.independe...on-6378418.html

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If anyone had set out on Wednesday night feeling short-changed by the absence of Sergei Polunin – scheduled to dance his first Oberon at Covent Garden but now in self-imposed exile – they had forgotten about it by the interval.

[dirac]

Reviews of New York City Ballet.

The New York Times

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For a program titled “À la Russe,” New York City Ballet wasn’t wrong to lead off with that lovely ballet, performed on Friday evening by Megan Fairchild and Andrew Veyette with eloquent musicality. At times Ms. Fairchild, so breathtakingly secure in her diagonal turns across the stage and so inside the music, was more instrument than dancer as she spun alongside Tchaikovsky’s cascading piano scales.

The Faster Times

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One could not imagine two ballerinas more different from each other than Sara Mearns and Teresa Reichlen, both of New York City Ballet. Mearns, all wild attack and in-the-moment electricity; Teresa Reichlen, basking in cool effortlessness and Botticellian radiance. To see them in successive ballets, as one often does, is like experiencing a radical shift in scenery: from stormy seas to a cool forest dell. But to see them dancing together, as we did a few nights ago (Jan. 31), in the leading roles of “Concerto Barocco,” is to watch two different ballets overlapping in time.