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Wednesday, March 21


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#1 dirac

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Posted 21 March 2012 - 11:33 AM

Michigan Ballet Theatre presents "Coppelia."

#2 dirac

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Posted 21 March 2012 - 11:35 AM

A preview of Ballet Austin's Light / The Holocaust & Humanity Project by Shelley Seale for CultureMap Austin.

In fact, Mills' words are so profound and thought-provoking that he gave one of the immensely popular TEDx talks, and KLRU will be filming a one-hour documentary on the project that will air April 19 (a follow-up to a previous KLRU piece). Ballet Austin also recently announced that Israel’s largest performing arts festival has invited the company to bring Light to the Acco Festival in 2013, performing for three nights during the prestigious event that draws over 200,000 visitors each year.

#3 dirac

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Posted 21 March 2012 - 11:36 AM

Ballet Austin dancer Paul Michael Bloodgood is interviewed about performing in the ballet.

For the past several months, Bloodgood and Melendez have been hosting their fellow dancers for informal discussions about the issues raised by "Light" and sharing books and watching films about the Holocaust, as well as other histories of genocide and intolerance.

"I'm trying to absorb as many different stories as I can, learn as much about what different people experienced as possible," Bloodgood says. "I don't play a specific character (in ‘Light') per se, but I represent a role many people experienced. That's a lot of responsibility."



#4 dirac

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Posted 21 March 2012 - 11:38 AM

A preview of the "Ballet Stars of New York" program to be presented by the University of South Carolina Dance Company this weekend.

This is the seventh year in a row that Stacey Calvert, former soloist for the New York City Ballet and now associate artistic director of the USC Dance Program, has helped present a dance concert the likes of which no other city in the U.S. can claim. Through Calvert's unique and sustained connection to professional dancers in the highest echelons of the dance world, Columbia dance audiences have the opportunity to witness an elite quality of dance.

In addition to Mearns — who began her training in Columbia before attending the South Carolina Governor's School for the Arts and Humanities and ultimately, the School of American Ballet in New York City — five additional dancers from the New York City Ballet will perform, all of whom have risen through the ranks to positions of principal dancer.




#5 dirac

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Posted 21 March 2012 - 11:39 AM

Q&A with Wayne McGregor.

You work with both the classically trained dancers of the Royal Ballet, and the contemporary dancers of your own company, Random Dance. Is there any difference in the way you work with each group?

There's no real difference between the dancers: I don't mind if they're skilled in ballet or hip-hop, as long as I have a connection with their imagination. Where it does get more challenging is in the structures within which I have to work. If you're doing a video with a pop star, you've got half a day; if you're working with the Royal Ballet, you've only got certain dancers at certain times of the day, and you have to work your schedule around that. When I'm with Random, I've got the dancers all day, all to myself. All of it affects the final outcome.



#6 dirac

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Posted 21 March 2012 - 11:41 AM

Posted Image
A preview of the 12th International Mariinsky Ballet Festival.

The event, launched by the Mariinsky's artistic director Valery Gergiev in 2001 as a counterweight to the maestro's other brainchild, the Stars of the White Nights festival that runs every year from mid-May through mid-July, assembles a pantheon of ballet stars from the world's finest ballet companies.

The same evening as the Petit ballet will see a performance of George Balanchine's ballet "The Prodigal Son" set to music by Sergei Prokofiev and originally created for Diaghilev's Saisons Russes in 1929, when it was performed by Teresa Reichlen and Daniel Ulbricht, soloists with the New York City Ballet.



#7 dirac

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Posted 21 March 2012 - 11:45 AM

A preview of Scottish Ballet's "A Streetcar Named Desire."

‘Tennessee Williams almost called the play The Moth, says Nancy Meckler, Streetcar’s director and co-creator. ‘That idea of Blanche, how vulnerable she is, drawn to bright things that will harm her. It’s a very visual image; we’ve gone back to in the ballet.’

It was actually Meckler herself, who comes to Scottish Ballet from recent stints at the RSC, Broadway and the National Theatre of England, with whom the production started.



#8 dirac

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Posted 21 March 2012 - 11:46 AM

A video of Sacramento Ballet dancers in rehearsal.

The Sacramento Ballet rehearses for the upcoming Modern Masters performances including "Jazzin" a new dance by Darrell Grand Moultrie who is fast emerging as one of America's most sought after choreographers and master teachers.



#9 dirac

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Posted 21 March 2012 - 11:50 AM

A review of the 3D broadcast of Matthew Bourne's "Swan Lake" by Margaret Putnam for TheaterJones.

Back in his huge, empty room, the Prince restlessly fights off the demons in his sleep, only to have the swans emerge from under his bed. This time, the power shifts, with the swans attacking Prince and Swan until the Swan, all bloody, dies, followed by the Prince. Of all the Swans and Princes to die in all the many productions of Swan Lake, this one made you weep.

Bourne’s Swan Lake reinvents the Romantic era for the modern age, giving it the intensity, foreboding and sense of the unattainable that is almost unimaginable in this jaded age. Black Swan offered melodrama; this Swan Lake offered theater at its best.



#10 dirac

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Posted 21 March 2012 - 11:52 AM

A review of New York City Ballet in Germany by Horst Koegler for danceviewtimes.

Having been present by chance during the premiere of “Tarantella” at the company´s old home at City Center on 7 January 1964 during my first visit to the US, the impression of Patricia McBride and Edward Villella buoyantly flying about the stage is imprinted so strongly on my mind that I have some difficulties in appreciating later performances, generally as I also liked, for instance, its whirlwind passages, recreated by Suki Schorer and John Clifford. Nor can I say that its Baden-Baden performance by Ashley Bouder and Joaquin de Luz, brillantly as it was executed, did accelerate my heart-beat to that almost fainting tempo as I remembered McBride and Villella skimming the floor.



#11 dirac

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Posted 21 March 2012 - 11:54 AM

A report from the San Francisco 2012 Dance Festival by Rita Felciano for danceviewtimes.

Of the documentaries, which also included "Never Stand Still" on the history of the Jacobs Pillow Dance Festival, I saw Fabrice Herrault's fascinating "Claude Bessy: Lignes d'une Vie" and (in a preview) "Joffrey: Mavericks of American Dance."

Bessy, for years the director of the Paris Opera Ballet School, has had the reputation of being an exceedingly severe, even cruel taskmaster to her sometimes quite young charges. The film, clearly, is meant to mitigate that reputation by pointing out that Bessy believes that ballet is a very exacting profession, and that she came of age during the Second World War when life in Paris and at POB was exceedingly difficult. (Roland Petit in his autobiography "J'ai dansé sur les flots" confirms that experience) Bessy, whose own voice is ever present, also is portrayed as a highly capable administrator.......



#12 dirac

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Posted 22 March 2012 - 12:14 PM

The Moscow Festival Ballet presents "Cinderella."

The Moscow Festival Ballet was founded by Sergei Radchenko in 1989. Radchenko, a graduate of the Moscow School of Dance, danced for 25 years with the Bolshoi, including many solo and featured roles. He became well-known for his Spanish dance roles, particularly that of the bullfighter in the Georges Bizet-Rodion Shchedrin "Carmen" Suite.



#13 dirac

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Posted 22 March 2012 - 12:17 PM

David Hallberg is interviewed by Hedy Weiss in The Chicago Sun-Times.

The widely acclaimed Osipova, Hallberg’s partner in Chicago, has been a guest artist with ABT since 2010. She formerly danced with the Bolshoi, but is now part of the new Mikhailovsky Theater in St. Petersburg, led by Spanish choreographer Nacho Duato.

“She has such raw energy,” said Hallberg, “And I think there is something electric in out rapport onstage. Neither of us speak the other’s language verbally, but we communicate emotionally.”



#14 dirac

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Posted 25 March 2012 - 09:42 PM

An obituary for Cris Alexander.

His death at age 92 came just two weeks after that of Shaun O'Brien, the New York City Ballet character dancer and Alexander's companion of 61 years.

Alexander starred in the 1944 premiere of "On the Town," creating the role of Chip, one of the three iconic sailors on shore leave in Manhattan. He can be heard in the original cast album singing "Come Up to My Place," a duet with Nancy Walker, who played the determinedly amorous cab driver.




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