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Wednesday, April 18


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#1 dirac

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Posted 18 April 2012 - 09:58 AM

A review of Barcelona Ballet by Apollinaire Scherr in The Financial Times.


While whole nations in Europe have cast off their pointe shoes for less elevated domains of dance, Spain is moving in the other direction. In 2008, Angel Corella – American Ballet Theatre superstar until June 28, when he retires from the company – established the country’s first classical ballet troupe in decades, and the second ever. If its second visit to New York is any indication, the lovely Barcelona Ballet (né Corella Ballet and at City Center until Friday, then in Houston, Detroit and Purchase, NY) is taking a scattershot approach to winning converts to the alien art form.



#2 dirac

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Posted 18 April 2012 - 10:00 AM

Dancers from New York City Ballet perform in a lecture-demonstration conducted by Heather Watts in Princeton.

Many of those same dancers will return to McCarter on Tuesday, April 24, when New York City Ballet MOVES, a kind of farm team for the company, brings a program of works by Balanchine, Jerome Robbins, Christopher Wheeldon, and Peter Martins to the Matthews Theatre stage. Tiler Peck, Daniel Ulbricht, Wendy Whelan, and brother-and-sister Megan and Robert Fairchild, all of whom performed in the lecture demonstration, are among this stellar group. They are joined by Tyler Angle, Andrew Veyette, Sara Mearns, Amar Ramasar, Jonathan Stafford, and other well-known members of the company.



#3 dirac

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Posted 18 April 2012 - 10:04 AM

An interview with William Forsythe on the subject of Artifact, currently being revived by the Royal Ballet of Flanders.

Other ideas were also in play. Forsythe had been reading an essay by Lincoln Kirstein, who helped George Balanchine found New York City Ballet, about the critical moment when ballet is emancipated from opera. So he introduced into Artifact a Woman in a Historical Costume who talks in a kind of recitative – and argues throughout with A Man with a Megaphone (played since the very start by Nicholas Champion). He had also been studying the 18th-century dancer known as le Grand Dupré, “a co-ordinative wonder”, whose virtuosity was the basis of later dance technique.



#4 dirac

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Posted 18 April 2012 - 10:13 AM

Roberto Bolle appears in American Ballet Theatre's "Giselle" this weekend.

Bolle is substituting for Cory Stearns, an ABT principal dancer who is injured, and will dance the role of Albrecht. He will only perform in the first of three performances of “Giselle,” part of the Virginia Arts Festival’s 2012 season.



#5 dirac

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Posted 19 April 2012 - 05:39 AM

More reviews of Barcelona Ballet.

The New York Times

At the moment his company needs more to say. Barcelona Ballet is young, with dancers who possess much of Mr. Corella's sweet warmth. The men fare better than the women, in terms of dancing and repertory, but it hardly helps the ballerina cause when Carmen Corella — Mr. Corella's sister — is placed front and center with such frequency. Her face is striking, but her dancing is awkwardly ragged; she lags behind the music.


The New York Post

The dancers seemed more tentative in the first two pieces. Clark Tippet's "Bruch Violin Concerto No. 1" included a crisp performance by Momoko Hirata in pink. Christopher Wheeldon's "For 4" was well-danced, but the men couldn't keep up with the original dancers, a group of top male virtuosos — Corella among them — performing as "The Four Kings."



#6 dirac

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Posted 19 April 2012 - 05:42 AM

A story on the new documentary "First Position," which will be shown at the Florida Film Festival.

First Position" follows several promising young dancers as they prepare for the Grand Prix finals in 2010. The Youth America Grand Prix, founded in 1999, is the world's largest ballet competition that awards full scholarships and job contracts to dancers age 9-19.



#7 dirac

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Posted 19 April 2012 - 05:57 AM

A review of Barcelona Ballet by Mary Cargill for danceviewtimes.

....The evening opened with the late Clark Tippet's "Bruch Violin Concerto no. 1", a generous introduction to the company. The work is a neo-classical exploration of the ballet vocabulary, both formal and exhilarating, with four couples and a corps filling the stage with constantly shifting shapes. As in the last visit, some of the women seem to have rather fixed grins, but all danced with a refined clarity. Carmen Corella, with Dayron Vera, danced the adagio role, with an innate sense of drama, using her eloquent back to express a generalized sorrow. She, and her generous partner, did have a few technical glitches, but it was a lyrical, gracious, and mature performance. Momoko Hirata, with Alejandro Virelles, were a fine contrast, as they sparkled through the slightly Hungarian variation, with its fast footwork and exciting jumps. The corps, in yellow tutus, supported by men in brown, were very well-rehearsed, alert, eager, and completely winning.



#8 dirac

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Posted 19 April 2012 - 09:20 AM

A preview of Atlanta Ballet's "New Choreographic Voices."

The three standout chorographers, including AB dancer Tara Lee, combine classical dance with daring new movement, music, and diversity that McFall describes as “emotional, inspiring, and intellectually stirring.”

This year’s production marks the second season Atlanta Ballet will present the edgy program of premieres. Last season’s show, which was then titled Ignition: New Choreographic Voices, featured three world premieres, including the powerful, Atlanta-inspired “Home in 7” by choreographer Amy Seiwert.



#9 Helene

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Posted 20 April 2012 - 07:40 PM

Sandra Kurtz reviews Pacific Northwest Ballet in "Apollo" and "Carmina Burana" for Seattle Weekly.

A longer version of Apollo was last seen at PNB in 2005. Peter Boal's new staging retains Balanchine's fleetness and extension of neoclassical ballet, though the narrative arc is dimmed by the loss of the opening. We first meet Apollo as a young god, meaning that his tutorial relationship with the Muses is changed; the idea that he must first learn from them, then lead them, is more difficult to follow. Even so, this is still a role most male dancers covet, and the alternating leads (both debuting in the part) show different aspects of Apollo. Batkhurel Bold uses his significant control as a metaphor for godhood, making Apollo's transformation an interior process. (He was already more than halfway there when the curtain rose.) Karel Cruz is all elegance in his opening pose, but reveals several traces of Apollo's lanky boyhood—and these "awkward" bits emphasize the drama of his transformation.




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