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Friday, August 10


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#1 dirac

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Posted 10 August 2012 - 02:13 PM

Obituaries for Richard Cragun.

Telegraph

Cragun and Haydée were muses to the Royal Ballet choreographer John Cranko, who in the 1960s turned the Stuttgart Ballet into a centre to rival Covent Garden — younger, and more cosmopolitan and contemporary. The chemistry between the tall, affable Cragun and the small, passionate Haydée inspired an upsurge in ballet costume dramas . The couple’s onstage understanding was underpinned for 16 years by their relationship as lovers, until Cragun came out as homosexual.


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Together they would dance all the major works of the Cranko repertoire, several created specifically for their partnership, most notably The Taming of the Shrew, in which Cragun was a strikingly handsome Petruccio, by turns self-mocking, overbearing, funny and tender. The role suited his robustly masculine and charismatic stage personality and provided a first-class showcase for his virtuosity and partnering skills. No dancer has equalled him in the role.



#2 dirac

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Posted 10 August 2012 - 02:14 PM

A look at Boston Ballet's finances by Mary Moore for the Boston Business Journal.

With its so-called Clean Slate Fund campaign in 2010, the Ballet raised $10 million in eight months and from eight donors, an ambitious and hush-hush undertaking that required Ballet executives to present donors with a plan for how they would reach solid financial footing. That plan includes building audiences, drawing more individual donors and corporate sponsors, and keeping expenses low.



#3 dirac

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Posted 10 August 2012 - 02:19 PM

Q&A with Myles Thatcher by Toba Singer for the California Literary Review.

Which came first, the desire to dance or to make dances?

Definitely, the desire to dance came first, but when I was 12, I told my mom I wanted to be a choreographer, and this was before Harid, so I had thought about it at a young age. I remember choreographing to The Nutcracker Suite, but once I began training more seriously, I wasn’t thinking about it, I didn’t have time! When I was in the trainee program here, we had a choreographic workshop to prepare for the Assemblée International, and we were using each other in a very experimental way. It was intimidating, but also fun, and then Helgi chose my piece for the festival and well, it has snowballed, and all of a sudden I’m getting opportunities. It’s such a different side of dancing, and it comes very naturally to me.



#4 dirac

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Posted 10 August 2012 - 02:22 PM

Stephanie Hutchison and her daughter have a narrow escape when a tree crashes into their house.

Stephanie Hutchison, who is the first soloist with the National Ballet Canada, says she was sleeping in one of the upper bedrooms of her house on Willow Avenue with her five-year-old daughter, Charlotte.

The tree making a crackling sound just before it fell, at which point Hutchison told CBC Radio her instincts kicked in.


Related.

Incredibly, they were not hurt. Just as incredibly, it happened mere months after Hutchison was involved in a multi-car pile-up caused by a careless driver on Highway 400. The ballerina suffered only a minor neck injury.



#5 dirac

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Posted 10 August 2012 - 02:24 PM

An item in brief on Colin Peasley's retirement from the Australian Ballet.

Peasley started ballet at the relatively old age of 21. He was invited to join the Australian Ballet, which is also celebrating its 50th anniversary this year, by its founding artistic director Peggy van Praagh in 1962.



#6 dirac

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Posted 10 August 2012 - 02:27 PM

A review of a recording of Gabriel Pierné's Cydalise et le chèvre-pied by Christie Grimstad for ConcertoNet.

....Close associate to Ballets Russes’ founder, Sergei Diaghilev, Pierné actually premiered two works: Stravinsky’s The Firebird (1910) and Ravel’s Daphnis et Chloé (1912). The awakening of these two highly stylized compositions helped strengthen his uniquely colorful . Completed in 1914, the public remained unexposed to its existence until the opening on January 15, 1923.



#7 dirac

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Posted 10 August 2012 - 02:29 PM

A preview of Russian offerings at the Edinburgh Festival by Yelena Andrusenko for Voice of Russia.

Ratmansky`s production of Cinderella has been on the Mariinsky`s playbill for 10 years. It`s been long since Ratmansky who joined the American Ballet Theatre as Artist in Residence in 2009 rehearsed with the Mariinsky ballet. Although he is being a bit nervous now about the issue, he has no doubts that dancers at the Mariinsky are well-trained and will live up to his expectations. The fact that Valery Gergiyev conducts both performances himself will definitely add to the company’s success. “A great conductor, he follows his musical instincts, which is not always good for dancers but sometimes gives a great boost to the production”, Ratmansky says.



#8 dirac

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Posted 10 August 2012 - 02:32 PM

A story on current plans for Milwaukee's Harmony Initiative real estate development.

Also declining to comment on the possible law firm offices was Dennis Buehler, Milwaukee Ballet's executive director."We continue to be cautiously optimistic about what we're proposing on that site," Buehler said.

But, he added, the Harmony Foundation still has a lot of work to do in studying the feasibility of the project, which will depend largely on private fundraising efforts.



#9 dirac

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Posted 10 August 2012 - 02:33 PM

Q&A with Paul Vasterling in the Nashville Business Journal. Subscription only.

As CEO of the Nashville Ballet, Paul Vasterling has helped bring diversity to Nashville’s artistic community. This season, the ballet put on more performances than ever and featured special shows, including a collaboration with international rock star and Tennessee resident Ben Folds. The result? More people understanding that Music City is about more than fringe skirts and cowboy boots.

#10 dirac

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Posted 10 August 2012 - 02:34 PM

Kaua‘i Dance Theatre commences its twenty-seventh season.

Additionally, KDT sponsors workshops with visiting instructors for all Kaua‘i dance students. In June, Matisse Madden, a dancer with the Connecticut Ballet and ballet teacher at Yale University, held a ballet intensive and master class.



#11 dirac

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Posted 11 August 2012 - 04:14 PM

An obituary for Richard Cragun by Paul Vitello in The New York Times.

Mr. Cragun, who was born on Oct. 5, 1944, told interviewers that he began taking tap-dancing lessons at 5, and decided to make dancing his profession a few years later, after his father, a college librarian, took him to see “Singin’ in the Rain.” Donald O’Connor, one of Gene Kelly’s co-stars in that movie, was “my first absolute idol,” he told People magazine in 1977.



#12 dirac

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Posted 11 August 2012 - 04:15 PM

A review of Ballet NY by Brian Seibert in The New York Times.

Part of Ballet NY’s mission is to serve as a testing ground for emerging choreographers. “Triptych,” a company premiere by John-Mark Owen, who has danced with Ballet NY, shows promise, even though it looked under-rehearsed and was confusingly missing the first of its three parts. That left the bittersweet middle and fraying end of a romance, each stage embodied by a different pair of dancers.

A long skein of partnering that remains uncommonly fluid while tightening like a stretched rubber band, Mr. Owen’s choreography for the first couple (Kelsey Coventry and Michael Eaton) capitalizes on the stately agitation of a Baroque violin sonata by H. F. Biber.



#13 dirac

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Posted 13 August 2012 - 10:39 AM

A BBC News interview with Palestinian ballet dancer Ayman Safiah.

"My desire to study classical ballet was simply beyond the understanding of my classmates," he explains. "They only knew that it was something women enjoyed. It was completely alien to them."

An Arab citizen of Israel, Ayman was born in Kafr Yassif in the Galilee - the pre-eminent cultural town from where well-known artists and writers such as Mahmoud Darwish have sprung on to the international stage.



#14 dirac

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Posted 13 August 2012 - 10:54 AM

A review of Pointe of Departure by Roy Berko for Broadway World.


Locals had hoped that, due to their strong local ties, former Cleveland Ballet wunderkinds, Karen Gabay and Raymond Rodriguez, would make Cleveland the permanent home for Pointe of Departure, their small nonprofit ballet company, and grow it into a local treasure.

Point of Departure originated here in 1998 as a collaboration between violinist Lev Polyakin, Assistant Concert Master for the Cleveland Orchestra, and Gabay. After sold-out performances at the Cleveland Museum of Art and the Cleveland Institute of Art, the collaboration got a name and a mission. Its purpose is to “erase the stereotypical antiquated image of classical ballet and launch it into the 22nd century as an art form in demand!”




#15 dirac

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Posted 13 August 2012 - 11:10 AM

An obituary for Richard Cragun in his hometown paper, The Sacramento Bee.

Cragun distinguished himself at the Royal Ballet School and completed his studies with influential ballet teacher Vera Volkova in Copenhagen, Denmark. At 17, he joined the Stuttgart Ballet and rose to be principal dancer at 21.

Besides his life partner, Roberto de Oliveira, he is survived by his younger brother, Lawrence Crason, a professional storyteller. He was predeceased by his elder brother, Robert Cragun, a longtime Cordova High School math teacher.




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