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Sunday, April 1


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#1 Mme. Hermine

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Posted 01 April 2012 - 01:55 AM

A review of Aspen Santa Fe Ballet by Libby Hanssen in The Kansas City Star.

It blended homogenously with Jirí Kylián's "Stamping Ground" (1983) created for the Nederlands Dans Theater. Both half-hour, non-narrative works used a mixture of athletic movement, tricky, fidgety gestures and contortionist partnering, and were musically reactive.

Kylián's piece started with a series of solos, performed in silence. A female dancer, in a black bustier leotard and tights, emerged from the strips of black curtain along the rear of the stage for an introspective, scuttling solo. A male dancer entered with Tarzan-like curiosity, the resemblance reinforced by his costume of tight, black shorts. As subsequent soloists entered, they brought to mind marsh creatures: piscine gestures, the gangly elegance of a wading bird, a double-jointed water strider.



#2 Mme. Hermine

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Posted 01 April 2012 - 03:11 AM

A story on how economic cutbacks are affecting musicians.

Arts presenters and Broadway producers of all stripes contend that they have no choice but to cut musicians amid shrinking budgets. John Tomlinson, executive director of Paul Taylor, said it would have cost the company an extra $450,000 to $500,000 to use live musicians for its three-week season, and that he wasn't able to raise that much money in a difficult economic climate.

Performing arts experts understand that producers need stars and glitzy sets to sell tickets in an increasingly competitive market for entertainment, but add that the music should not be sacrificed as a result.



#3 dirac

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Posted 02 April 2012 - 10:46 AM

A review of the Zurich Ballet by Horst Koegler for danceviewtimes.

With his March 2012 premiere Heinz Spoerli closed his 16th and final season as artistic director and chief choreographer of the Zurich Ballet. He had held the same position from 1973 through 1991 at Basel (the city where he was born in 1940), and from 1991 through 1996 at the Duesseldorf/Duisburg based German Opera on the Rhine. It means that he functioned as a director/choreographer for 39 continuous years, during which he created almost 200 ballets in the three/four cities plus guesting for many companies abroad. It is an imposing balance-sheet, which earned him the title of ´Switzerland´s No. 1 Ballet-Man´, which hadn´t existed before. Actually he was the first Swiss to secure a set place for Swiss ballet in the history of ballet, established through his companies touring around the globe. And if Swiss ballet does not yet rank among the Ivy League companies of the world, it certainly holds its honorary place in the second row.




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