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Sunday, March 25


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#1 Mme. Hermine

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Posted 25 March 2012 - 02:49 PM

Alastair Macaulay reports on the live broadcast of the Royal Ballet's Romeo and Juliet:

http://www.nytimes.c...k-theaters.html

Few ballets take to the screen as well as this “Romeo,” choreographed by Kenneth MacMillan in 1965. Since then many other versions of Prokofiev’s Shakespeare drama have been staged, but none have challenged the vivid and compelling supremacy of this one, which has been danced by several companies around the world. This June it returns to American Ballet Theater’s repertory at the Metropolitan Opera House

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#2 Mme. Hermine

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Posted 25 March 2012 - 02:52 PM

Tulsa Ballet will perform a Ballet Russe-themed triple bill:

http://www.tulsaworl...D6_CUTLIN980214

Tulsa Ballet will pay homage to that heritage when it presents "A Ballets Russes Evening," a trio of ballets associated with Diaghilev's original Ballets Russes company.

They include Balanchine's "Apollo," the oldest surviving ballet by the legendary choreographer; "The Spectre of the Rose," Michel Fokine's dream-like ballet, set to music by Carl Maria von Weber orchestrated by Hector Berlioz; and a recent reworking of "The Rite of Spring," with contemporary choreographer Adam Hougland working with Igor Stravinsky's landmark score.



#3 Mme. Hermine

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Posted 25 March 2012 - 02:58 PM

Alberta Ballet performed a staging of Swan Lake by Kirk Peterson:

http://www.edmontonj...6163/story.html

All the hard work paid off opening night with the company very capably delivering Swan Lake. Artistic director Jean Grand-Maitre said he wanted his dancers to come out of the gate with panache. They certainly did that, setting a confident tone right from the start of Act 1, with the curtain rising on a revelling royal party scene against Peter Cazalet's lovely castle design.

The narrative flowed easily from the top of the production, with choreographer Kirk Peterson giving the dancers traditional mime, which they clearly communicated.



#4 Mme. Hermine

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Posted 25 March 2012 - 03:02 PM

A story on Alexei Ratmansky's new Firebird by Joseph Carman in The Los Angeles Times.

http://www.latimes.c...5,0,85122.story

The St. Petersburg-born, 43-year-old choreographer bears none of the aggrandized traits associated with Bolshoi-bred celebrities. Wearing gray sweat pants rolled up to the knees and a white T-shirt, his unassuming presence could get lost in a crowd. But when he leans forward in his chair, face slightly flushed, to give directions, ears prick up in the studio.

Kevin McKenzie, ABT's artistic director, has been building a canon of Ratmansky's pieces, including story ballets like his "Nutcracker" and "Bright Stream." Often, resident choreographers are coaxed to create what a ballet company needs for box-office returns. "I always try to let Alexei do what's next for him," McKenzie says.



#5 Mme. Hermine

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Posted 25 March 2012 - 03:05 PM

A review of English National Ballet by Clement Crisp in The Financial Times.

http://www.ft.com/cm...l#ixzz1qB4luiPS

Wayne Eagling’s programming for this brief season is thoughtful and, I venture, over-optimistic. To entrust Stravinsky’s Firebird score to a novice choreographer was generous but, in the event, ferociously unwise. To propose a reconstruction of Nijinsky’s L’Après-midi d’un faune from the choreographer’s own notations, in the ballet’s centenary year, is fascinating, but the result on Thursday night lacked that bloom of sensuality so exquisitely captured in Baron de Meyer’s photographs of its first staging. (We sometimes forget that the early Diaghilev seasons brought the first openly erotic ballets to the western stage.) David Dawson’s dank modernisation which followed, set to the two-piano version of the score, is soggily homoerotic and numbingly predictable.




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