This weekend, Texture Contemporary Ballet, led by Mr. Obuzor and associate artistic director Kelsey Bartman (Nashville Ballet, Pittsburgh Ballet Theatre School), will mark its first anniversary with "BLUR," a mixed repertoire program at the New Hazlett Theater, North Side.
"I wanted to have a place for myself to dance and also for myself to pursue choreography, and also I just felt there's a little bit of a void in the city for contemporary ballet," Mr. Obuzor said. "I felt [Texture] was a good fit to fill that."
Wednesday, July 18
Posted 18 July 2012 - 04:23 PM
Posted 18 July 2012 - 04:25 PM
Dekkers is 27 and looks hopelessly boyish, but sounds impressively authoritarian as he steers his team through the rehearsal. The cross-gender costuming consists of long white tulle skirts, straight out of a local production of "La Sylphide," but not a hint of camp afflicts the strenuous unisons. Oh, yes, the women are wearing pointe shoes.
A half hour later, the team is cavorting in jeans; Raychel Weiner is swooped up and promenaded overhead like a priceless icon paraded during Orthodox Easter. Then all the dancers smash into the rear wall with noticeable vehemence. Should one be alarmed? Dekkers assures us that the fare offered by Post:Ballet during its third home season will derive from the classical lexicon. He definitely does not believe that what comes after (or post) ballet is mayhem.
Posted 18 July 2012 - 04:26 PM
On July 25, from 7am–7pm, dance patrons can take advantage of a special one-day sale that knocks 50 percent off all regularly priced Nut tickets and related merchandise. The Joffrey Academy of Dance will also offer $5 off all drop-in rates for fitness classes, including Pilates and Keep Fit Ballet. An offer like this for the über-popular ballet doesn’t come along all that often. Restricitons apply for prime-time performances, but the majority of shows are for the taking.
Posted 18 July 2012 - 04:27 PM
Fabrice Calmels of the Joffrey Ballet and Carla Korbes of the Pacific Northwest Ballet will make return visits to Orange County as guests of the Festival Ballet Theatre. Calmels and Korbes will perform as a duo in "After the Rain," choreographed by Christopher Wheeldon.
The rest of the roster appearing for the first time as guests of the FBT includes: Daniel Ulbricht of the New York City Ballet; April Ball and Stephan Bourgon of Les Ballets de Monte Carlo; Daniel Camargo of the Stuttgart Ballet; Mari Kawanishi and Alexander Shpak of the Staats Ballet Berlin; and Rebecca King of the Prague State Opera Ballet.
Posted 18 July 2012 - 04:37 PM
In a largely symbolic vote, the City Council unanimously authorized a resolution presented by Finance Commissioner Michele Madigan that expresses city leaders' "strong support for collaboration and cooperation" between SPAC and the ballet company, a "reaffirmation of their close ties" and a residency of at least two weeks. The resolution called the ballet company "a significant component of the cultural, social and economic foundation of the city." Madigan said she had "great concern that we are in danger of losing the ballet at SPAC."
Posted 18 July 2012 - 04:39 PM
A native of Columbia, he studied dance in New York under such noted instructors as Leon Fokine, Maggie Black, Valentine Pereyaslaveek and Igor Scwezoff. While in New York he danced professionally on Broadway and in television programs. He also taught dance for the USO while serving in the military.
In the early 1950s he returned to Columbia, where he taught at the Foster School of Dance. He moved to Aiken and opened Crosby School of Dance, then located on Laurens Street, in 1955. In 2006 Crosby sold the studio to its second teacher and present owner Diane Toole Miller, a former student.
Posted 18 July 2012 - 04:40 PM
The Lopez-era Miami City Ballet will be doing more performances in its hometown and also will tour through South America, with the possibility of live-streaming performances to Miami audiences. Repertoire will gradually become edgier; MCB’s core works are the Balanchine and Robbins ballets, but there are pieces by boundary-stretching choreographers such as Nacho Duato and William Forsythe that could be added, she says. “What I don’t want is Miami City Ballet to become a museum,” explains Lopez, who additionally is working to bring her contemporary dance pickup company, Morphoses, aboard, possibly to serve as a choreographic arm of MCB. “For me, dance is a live performing art. It has to relate to the society at large. That can’t happen with the same repertory year after year after year.”
Posted 18 July 2012 - 04:46 PM
I can’t add too much to our review of the CD version. The two previous standards for this music are probably the Decca/London recordings conducted by Richard Bonynge—one 4-CD boxed set including a third Delibes ballet, La Source. The standard in my collection has been the Mercury Living Presence 3-CD boxed set with Anatole Fistoulari conducting the London Symphony Orchestra in the first, and Antal Dorati conducting the Minneapolis Symphony Orchestra in the second ballet. First, that runs over 172 minutes, so you can see that these two suites pick and choose from the complete ballet scores. Second, as to the A/B comparisons between the Mercury and the Reference: The 3-CD Mercury set was not one of the 15 or so briefly remastered as 3-channel SACDs, so it is standard CDs of materials recorded in the early days of stereo, 1957-58.
Posted 18 July 2012 - 04:48 PM
This exciting Gala also features a new work by Queensland Ballet dancer and choreographer, Gareth Belling, and concludes with a stunning Finale for the entire Company and guest dancers.
Guest dancers include: Jón Vallejo and Chantelle Kerr (Semperoper Ballett Dresden), Natalie Kusch (Vienna State Opera Ballet) and Daniel Gaudiello (The Australian Ballet) and Paul White.
Posted 18 July 2012 - 04:52 PM
Unusually, this production of Giselle is not entirely dependent on the ballerina playing the title role. Indeed, the work of the corps de ballet, 26 women, moving as one, creating one breathtaking sculptural image after another, is of equal—perhaps greater—importance. The interlacing lines of wilis (maidens who’ve died when their sweetheart betrayed them) crossing the stage in traveling arabesques made me gasp along with the neophyte viewers, though I’d seen the passage again and again. The stunning effect of the corps is no doubt due to the strict principles governing the dancers’ selection, their scrupulous training from childhood through adolescence (with many aspirants falling by the wayside) and, somehow, to their apparent communal dedication to animating the choreography at the highest level possible. It’s a zeal that never flags but is, instead, renewed night after night. I find all of this eerie and marvelous and feel privileged to witness it.
Posted 19 July 2012 - 09:38 AM
It’s a way to survive in a time as corporate and individual giving has nosedived and tried-and-true annual grants have become less dependable.
This month, the Scottsdale League for the Arts announced that, for the second year in a row, it will not disperse its approximate $300,000 in annual grants. And the Arizona Commission on the Arts has seen its funding decrease from $4.09 million in 2007-08 to $1.61 million for the 2011-12 fiscal year.
Posted 19 July 2012 - 09:41 AM
“They were inherently shy. It was something I didn’t anticipate,” Kargman says. “I would ask them, ‘Describe how much you love balllet.’ They’d say, ‘I like it.’ Really? Because you spend seven hours a day doing it, are you sure ‘like’ is the appropriate word?”
But because the filmmaker and her crew were small, they could be discreet. And since Kargman used to train in ballet as a child, she could easily relate to her subjects. “I’d turn the cameras off and do a lot of bonding. We’d talk shop. ‘That triple pirouette you landed today, your turn-out was incredible.’ ”
Kargman says even she was surprised at how ``brutal'' a ballet dancer`s feet can be, because it`s not something you ever hear about.
``They say it all comes with the territory. I knew their bodies were bruised and I knew it was tough, but I didn`t realize that when you get to that level, pain is already part of the mentality: You either put up with it or you quit. They know it`s what`s required of them, and I found that aspect fascinating.''
Posted 19 July 2012 - 10:06 AM
Myers picked up hers at the time she left Boston Ballet — where she was soloist in the latter stages of her seven-year classical career there, as well as choreographer of a critically well-received work (Gone Again) for the company, two pieces for its junior company (Boston Ballet 2), and choreography for a Disney film — and went to Europe to join Nederlands Dans Theater (NDT), a contemporary dance company based in The Hague.
This summer marks the end of the 33-year-old Myers’ three seasons with Nederlands Dans, and the start of a new life as a “have dance, will travel” artist, both as performer and, especially, choreographer.
Posted 19 July 2012 - 10:13 AM
Liam Scarlett, Will Tuckett and Jonathan Watkins divvied up nymphs, hounds and pas de deux in a choreographic jobshare, but their storytelling was unfocused and their characterisation cliched (Marianela Nuñez’s high-kicking dominatrix goddess was particularly disappointing).
The idea of three separate versions of Diana and Actaeon’s meeting ought to have been the making of the piece; but it got lost in the telling and ended up – like poor Actaeon – a bit of a dog’s breakfast.
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