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Friday, March 30


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#1 dirac

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Posted 30 March 2012 - 09:10 AM

A profile of Sylvie Guillem by Roslyn Sulcas in The New York Times.

At the Paris Opera "it was always a fight," she said. "I had a kind of realistic way of being onstage. I didn’t like the fakeness, the conventions of ballet, the things people did without thought because they had always been done that way."

Ms. Guillem’s desire to make her own decisions, alongside a perpetual hunger to learn, have been the driving forces of her career. Even while dancing the classics all over the world, she was constantly looking for choreographers to work with. "Maybe I still had the reputation of a classical ballerina, doing this," she said, snapping her fingers imperiously. "But at first it was hard to convince people I was serious."



#2 dirac

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Posted 30 March 2012 - 09:15 AM

A preview of Alberta Ballet's new production of "Swan Lake" by Bob Clark in The Calgary Herald.

That’s the message from ballet master Alex Ballard on the eve of Alberta Ballet’s first production of Swan Lake in its entirety, as reconstructed and restored by American choreographer Kirk Peterson.

Since Swan Lake stands at the very peak of the classical ballet canon, doing it justice means having dancers at a high level to start with, according to Ballard. “Otherwise,” he says, “it’s too unforgiving."



#3 dirac

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Posted 30 March 2012 - 09:17 AM

A review of Milwaukee Ballet by Tom Strini for Third Coast Digest.

An ambiguous gloom permeates Alejandro Cerrudo’s Extremely Close, one of three newer works the Milwaukee Ballet danced Thursday night.

Feathery white bits wafted down from the flies and gradually covered the stage as we re-entered Uihlein Hall after intermission. The whitened floor contrasted sharply with the black curtains. Three large white squares wheeled on; Alexandre Ferreira, shirtless beneath a black business suit bursts from behind one of them into a wheeling, tumbling passage. I thought: 9/11?



#4 dirac

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Posted 30 March 2012 - 09:22 AM

Mark Ronson talks about composing the music for Wayne McGregor's new ballet.

The Financial Times

The initial meeting between the two men took place in spring 2010, and the discussion of a work that would open two years later was another culture shock. “That is dog years in the pop world,” says Ronson. But the time has come, and we are speaking on the day before the first full rehearsal with band, orchestra and dancers. I suggest he must be as nerve-wracked as he gets.

He gives a passable impression of the least nervous person in the world. “It is a little bit nerve-wracking. But not as bad as if it were my own show and I had to speak to the crowd.” Ronson will appear on stage, playing bass in a small band backing singers Boy George, Alison Mosshart of the Kills, Jonny Pierce of the Drums and rappers Wale and Black Cobain, performing a cycle of nine love songs.


Related.

And Ronson realised the emotional appeal of ballet performances after he broke down in tears watching a prima ballerina rehearse.



#5 dirac

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Posted 30 March 2012 - 09:25 AM

A story on the ongoing funding concerns of arts organizations by Ed Jacobs of the Guardian Northerner.

As if uncertainty about the future leadership of the Arts Council wasn't enough, the sector is continuing to come to terms with the 30% cut to the arts budget announced in the Chancellor's Spending Review of 2010. Whilst Culture Secretary, Jeremy Hunt has sought to plug the gap with a new £80 million fund designed to encourage a new generation of philanthropists to fund the arts, last month, the Guardian's arts correspondent, Mark Brown reported that corporate philanthropy towards arts and culture dropped by 7% last year to a level lower than in 2004/05.



#6 dirac

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Posted 30 March 2012 - 09:28 AM

A review of Colorado Ballet's "Tribute" program by Ray Mark Rinaldi in The Denver Post.


This was, generally speaking, not a night where gender played a game-changing role. No girls' night out, no sorority party, just solid dance from three serious women making their way in a profession dominated once, but maybe not forever, by men.


First up was choreographer Emery LeCrone's "Archetypes," a piece for 18 dancers with music from contemporary composer Terry Riley. LeCrone is just 25, but her influences run deep into the 20th century while her demands on dancers reflect her youth: there's a bit of dare in the way she expects her women to leave the ground in the hands of men.




#7 dirac

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Posted 30 March 2012 - 09:53 AM

A preview of the Dance Salad festival by Molly Glentzer in The Houston Chronicle.

Of course, Henderek can't really choose favorites; these artists and their dances are all her babies. She thinks audiences who like Quasar's work will also appreciate pieces by other avant-garde companies she's introducing.

She's worked three years to bring Compagnie Pál Frenák of Paris and Budapest to Dance Salad. The troupe finally makes its North American premiere with "Seven," an adventurous dance utilizing huge inner tubes.



#8 dirac

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Posted 31 March 2012 - 03:42 PM

Teresa Reichlen is profiled by Sarah Kaufman in The Washington Post.

She spoke recently via Skype from Amsterdam. Wearing her long blond hair loose, her face a pale oval but for the bright blue of her eyes, Reichlen could have been any college kid — which is exactly who she is in the rare moments when she’s not dancing. Taking one or two courses a semester, she is working toward a biology degree from Barnard College.

Reichlen was in the Netherlands with her boyfriend, New York City Ballet dancer Justin Peck, to rehearse a duet Peck had choreographed for her and a member of the Dutch National Ballet. After that, she was headed to St. Petersburg to squeeze in a performance of “Prodigal Son” with the Mariinsky Ballet Company, just before traveling here for the New York City Ballet’s series at the Kennedy Center Opera House, Tuesday through April 8.



#9 dirac

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Posted 31 March 2012 - 03:47 PM

Reviews of American Ballet Theatre in "Firebird."

The Orange County Register

This "Firebird" reflects the strengths and weaknesses of its choreographic creator. Ratmansky's work always seems more instinctive than cerebral to me, a quality that is better for character development than storytelling.


The Los Angeles Times

Ratmansky cleaves to the libretto’s spirit and intention, but some of his narrative shifts have mixed choreographic results. Rather than one Firebird, Ratmansky introduces a male and female flock. They clutter the stage, diluting the dancing’s patterns and the entrance of his lead Firebird, who on Thursday was the always powerful Natalia Osipova; she looked uncomfortable throughout the ballet, an unexpected twist for this excellent Russian ballerina. A pas de quatre intended as a psychological show of wits was a May dance of shifting partnerships for the sorcerer Kaschei, Ivan, Firebird and Maiden, without real focus.



#10 dirac

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Posted 02 April 2012 - 10:48 AM

Los Angeles Ballet hosts a gala.

At the Montage hotel, guests such as Mad Men’s Kiernan Shipka -- a supporter of the ballet, who was at the 2011 gala -- Richard Riordan and Gray Davis mingled during a dinner of filet mignon and halibut, before the silent auction (the event will net approximately $500,000). Proceeds go to the L.A. Ballet Company to provide pointe shoes, costumes, and even a piano for rehearsals and performances.



#11 dirac

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Posted 02 April 2012 - 10:53 AM

Atlanta Ballet announces its 2012-12 season lineup.

"Bringing in Ohad Naharin is huge," said ballet executive director Arthur Jacobus, who, after his early 2010 arrival, worked with longtime artistic director John McFall and other Atlanta Ballet leaders on a three-year strategic plan (now being expanded to five) that positioned the country's longest continuously operating dance company for change. Its charge is toward artistically adventuresome programming, frequently in the form of commissions, that pushes the energy and athleticism of the dancers.



#12 dirac

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Posted 02 April 2012 - 11:09 AM

Edward Villella will be honored at a lunch next Monday.

The private luncheon is a precursor to Miami City Ballet's season finale performance of Coppélia, which will be held on April 3 and 4 at the Naples' Philharmonic Center for the Arts.




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