Bussell believes it is the variety of repertoire and superlative choreography that draws overseas dancers to British companies. Like industry and finance, ballet has gone global. Bussell notes different national strengths – the British style is “much more in our upper body”, for example, while Americans are particularly athletic – and voices concern about a diluting of styles: “That’s a problem. We could easily lose our identity. That’s why we’ve got to hold on to our repertoire and our schooling – probably our biggest strengths.”
Friday, July 27
Posted 27 July 2012 - 12:31 PM
Posted 27 July 2012 - 12:33 PM
The ballet dancer, born in Toulouse, France, now resides in Paris. She, regularly travels the world with the Paris Opera to locales ranging from Australia and Japan, but this was just her second visit to New York City. “I just want to buy everything,” she joked.
One of the first things Gilbert did upon landing was head to Soho to shop. “I saw this second-hand shop and I found this incredible Dolce & Gabbana dress with a black train. I bought it and wore it that night. I love wearing beautiful dresses.”
Posted 27 July 2012 - 12:38 PM
RCB moved into the building in March 2004 and has since renovated the former warehouse into a state-of-the-art dance facility. This purchase was made possible through funding from the Dormitory Authority of the State of New York, a statewide economic development program.
Posted 27 July 2012 - 12:39 PM
Though Cottle is the daughter of a professional ballet dancer, her parents run a dance school, and she grew up performing, she’d never produced a show before. She started with friends, enlisting the help of two choreographers, Rachel Truitt of Phase 1 Contemporary Dance for the contemporary movement and ballet and Codie Wiggins for the hip-hop elements.
Posted 27 July 2012 - 12:41 PM
Sleeping Beauty, in its rightful state, is the non plus ultra of ballets, a fairytale transported to the pristine peaks of pure classical style. The Rose Adagio, in which the Princess Aurora performs her triumphant balances to the sound of Tchaikovsky at his most rapturous, is more than just a high point in ballet; it is a moment of significance in art, in civilization. I could do without seeing it danced to taped music by an Aurora (Megumi Oki) comporting herself like a deranged Lolita and four 'princes' dressed in cast-offs from Ken Dodd's Diddymen.
Most entertaining is the seemingly unintended homoerotic subplot which sees our lead man frolicking with the production’s male Lilac Fairy-equivalent Dream Master. The final tableau with Dream Master’s lowered gaze and sad expression as Aurora and Prince embrace seems to typify not only the character’s unfulfilled longing but also the unfulfilled potential of the choreography.
Posted 28 July 2012 - 05:52 AM
He went to The School of American Ballet, joined New York City Ballet, danced in Cats on Broadway and was handpicked by a Japanese producer to choreograph the opening ceremonies of the 1998 Winter Olympic Games.
"I choreographed a section in New York and another section in Japan then put it together," he said.
Posted 28 July 2012 - 05:54 AM
What makes this festival different from other dance festivals?
I try to always present performances that can't be seen anywhere else, whether it's a new partnership between dancers from different companies, or new works made especially for the festival or special performances in the UpClose series that explore an aspect of dance in depth. Some examples from this year are the pairing of Carla Korbes the ballerina from Pacific Northwest Ballet with Eric Underwood from the Royal Ballet-- they have only ever danced together here in Vail and it is a wonderful partnership, Carla is also dancing with Cory Stearns from American Ballet Theatre, another partnership you won't see anywhere else. The UpClose performance this year celebrates the incredible repertory of works created by George Balanchine to the music of Igor Stravinsky, and we will look at the works danced rehearsal style by the dancers of New York City Ballet MOVES.
Posted 29 July 2012 - 05:09 AM
The company's roster of 55 dancers has changed slightly for the 2012-13 season, with some notable moves at the top. Former principal Danielle Rowe has left for Netherlands Dance Theatre. Rowe joined Houston Ballet from the Australian Ballet as a first soloist in January 2011 and was quickly promoted to principal last August.
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