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Thursday, March 22


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#1 dirac

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Posted 22 March 2012 - 12:16 PM

Ballet Preljocaj visits L.A.

That's because Ballet Preljocaj's production of "Snow White" -- with costumes designed by Jean Paul Gaultier -- hits town for three performances starting Friday evening. (In case you missed it, I wrote a piece about the ballet -- and the costumes -- that ran in Sunday's Calendar section.)



#2 dirac

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Posted 22 March 2012 - 12:18 PM

A review of San Francisco Ballet byJanos Gereben in The San Francisco Examiner.

Jerome Robbins' 1983 "Glass Pieces," the oldest offering on the program, delightfully combines casual movements – dancers walk across the stage or sway in half dark upstage – and explosive action.

The piece requires the entire company – principal dancers, soloists and the corps. Out front, Sofiane Sylve and Pierre-Francois Vilanoba made a terrific impression Wednesday.



#3 dirac

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Posted 22 March 2012 - 12:21 PM

A preview of what viewers are likely to see in the Royal Ballet's day-in-the-life streaming video by Judith Mackrell in The Guardian.

Behind-the-scenes footage of dancers is always fascinating – the BBC's The Agony and the Ecstasy captured a huge audience with its blood, sweat and tears portrayal of life at English National Ballet. But on Friday, the Royal Ballet are taking the concept of fly-on-the-wall to a new level: live-streaming an entire working day online, unedited and in real time. Hosted on the Royal Opera House YouTube channel and also here on guardian.co.uk, the broadcast will introduce outsiders to the exhausting, exhilarating, sometimes arcane world of a ballet company.

It starts at 10.30 with morning class – a ritual that is fundamental to any dancer, in any company, around the world. The old adage that if you miss one class, you know it; if you miss two, your teacher knows it; if you miss three, the audience knows it, is pretty reliable.....



#4 dirac

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Posted 22 March 2012 - 12:23 PM

An interview with Stacey Calvert.

Calvert retired from NYCB and moved to a beach house that her parents owned in Charleston while O’Day sought a director position. Then everything changed in 2001. He just up and left. He left me with Ayla. She was about 2 1/2. I had to figure out what I wanted to do. I thought my path was going to be different. I thought we were going to have another baby and that changed.

She wanted to do something different, not dance. She even sold grills for a year. In 2003, Susan Anderson, the founder of the USC Dance program and artistic director of the USC Dance Company, reached out. Susan called me to teach at a summer program. I said no, because I was never going to teach. I had no desire to teach. I didn’t know if I’d be any good at it. I felt I didn’t have practice. As a dancer, you want to feel rehearsed and practiced. You can be a great performer and not a great teacher.



#5 dirac

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Posted 22 March 2012 - 12:25 PM

A feature on Tulsa Ballet II by James D. Watts Jr. in Tulsa World.

Keefer, for example, was the understudy for the role of Juliet in Tulsa Ballet's recent world premiere of "Romeo and Juliet." Andrew Silks had a featured role as Lord Montague in the same ballet. And Brittney Feit danced the role of the adult Marie at some performances of "The Nutcracker" in December.

"A lot of ballet companies that have a second company like this tend to keep the two very separate," Silks said. "And if you do get on stage, it's usually just to fill up the background of a crowd scene, things like that. So having opportunities to learn and perform real roles is something special."



#6 dirac

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Posted 22 March 2012 - 01:28 PM

Texas Ballet Theater presents the Portraits Ballet Festival. Item in brief.

On the weekend of Friday, April 20 through Sunday, April 22, Texas Ballet Theater will perform a showcase of neoclassical dance with Ben Stevenson's Bartok. Then experience George Balanchine's Apollo, inspired by the Greek God Apollo, the patron god of music and poetry, with world premiere choreography by Company member, Carl Coomer.



#7 dirac

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Posted 22 March 2012 - 02:42 PM

A review of the National Ballet of Canada in "The Seagull" by Paula Citron in The Globe and Mail.

http://www.theglobea...content=2378257


Chekhov set his play in the world of the theatre. Neumeier has translated the characters into dance, so successfully that one could argue that he's the greatest storytelling choreographer today.

Arkadina (Greta Hodgkinson) is now a prima ballerina instead of an actress; her son Kostya (Guillaume Côté) dreams of choreographing. Nina (Sonia Rodriguez) is a fledgling dancer, Trigorin (Aleksandar Antonijevic) is a famous choreographer.



#8 dirac

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Posted 22 March 2012 - 02:48 PM

Nina Ananiashvili performs this month. Item in brief.

This is the first time Ananishvili will dance in Kyiv. She has a long history of performances on the world’s best stages as a dancer for Russia’s Bolshoi Theater and the American Ballet Theater.



#9 dirac

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Posted 23 March 2012 - 11:39 AM

Previews of American Ballet Theatre's "The Firebird."

The Orange County Register

Choreographing new movements to a work that is so closely and passionately identified with another artist and time has caused him a little lost sleep, Ratmansky admits.

"It's a huge challenge and a huge pleasure at the same time. The score, of course, being Stravinsky, is very rhythmical, although less so than his later scores. But when you hear the music there's a clear picture of what's intended."


The Press-Telegram

Now, Copeland is the poster girl, but she won't be dancing opening night. That honor goes to Osipova, who also will dance March 31.

Copeland, who has danced at ABT for 11 years, will make her debut as Firebird on March 30 and April 1. Boylston will dance the March 31 matinee.



#10 dirac

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Posted 25 March 2012 - 09:53 PM

Ashley Page receives his first American commission from San Francisco Ballet. Story by Allan Ulrich in The San Francisco Chronicle.

Those dancers will number 18 "in a hierarchical order," and "Guide" has been triple cast. It seems a large amount for a company Page is unfamiliar with, "but with such fantastic dancers, I couldn't help myself."

A former Royal Ballet member, he didn't start "dabbling" in choreography till 1981. Kenneth MacMillan, Glen Tetley and Frederick Ashton encouraged him; and Page soon realized that "generating material meant more to me than making movement." He retired from the Royal in 2002 to assume the directorship of the Scottish Ballet, then in the artistic doldrums.




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