9 replies to this topic

[dirac]

The Royal Winnipeg Ballet brings "Moulin Rouge - the Ballet" to Chicago.

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It's also a tragedy, one sewn by a love triangle involving the owner of the club. This is Morris' original take: He stitched the score together from period selections by Claude Debussy, Maurice Ravel, Jules Massenet and, of course, Jacques Offenbach, who scores the can-can.

Morris' version on that dance is a hybrid of the traditional and ballet, though not the choreographer's own favorite.

[dirac]

A preview of the Australian Ballet's 50th anniversary bash.

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Maina Gielgud was the ballet's artistic director from 1983-to-1996.

She says her proudest achievement was putting the Australian Ballet onto the international stage."They were recognised as understanding the tradition and yet brining something individually Australian," she said.

[dirac]

Q&A with Stephen Millson Ballet Austin's Light/The Holocaust & Humanity Project.

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Your work has been presented in various cities. Each time a great many community partners have become involved, presenting events focusing not only on Holocaust education but a wide range of human and civil rights. Some might say this diminishes the Holocaust.

Initially that worried me. It is impossible to measure the suffering of the Holocaust. It is without end. When once again I turned to Naomi, she said "Genocide didn't stop in 1946." Now I see these various partnerships as concentric circles and am very grateful for each of them.

[dirac]

An item on Wes Chapman by Michael Huebner for The Birmingham News.

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At Alabama Ballet, Chapman grew the company from 16 to 44 apprentices and professional dancers and established the Alabama Ballet School. During his tenure, he established ties with the George Balanchine Trust, and the company became one of six companies licensed to perform Balanchine's "The Nutcracker," the version still perform every year. He returned to American Ballet Theatre in 2006 to become artistic director of ABT II (later called ABT Studio Company), a company of 12 young dancers in training for the main company or other ballet companies.

[dirac]

A review of Boston Ballet by Martha Shanahan for Tufts University's daily paper.

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Forsythe’s mechanical choreography is a perfectly logical pairing to Thom Willems’ pounding, synthetic music. It’s a combination from which it is nearly impossible to pull your eyes, or ears, away. Each dancer is a cog in a well−oiled, restless machine, but each also has an opportunity to express his or her inner diva — they are selfish actors in a play that requires teamwork. During the performance, quartets or pairs take center stage to make unified statements as a group only to finish dancing and strut away to stand on the side with their hips jutted out, assessing the competition. Forsythe’s dances often take classical technique and turn it on its head and “The Second Detail” is no exception. The dancing is wild, then tightly wound, then explosive, but it is always confident.

[dirac]

Ballet Nouveau Colorado opens its season this weekend.

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So it its no surprise all three of the Broomfield-based dance company's 11th season productions will include live music. The season opener, "A Dangerous Liaison," pairs the dance troupe with the Baroque Chamber Orchestra, a group that plays music from the period on the same instruments they would have used 400 years ago. (The second production in February is another encore of "Carry On" and it will collaborate with the Colorado Symphony in April for "Perpetual Beauty.")

Having live music with every show was always part of the plan, but it took a while to realize that goal, according to BNC artistic director Garrett Ammon.

[dirac]

A tribute to the late Leo Kersley of the Harlow Ballet Association will be held this weekend.

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Staged in the intimate surroundings of The Studio Theatre on Saturday and Sunday, the varied programme features intriguing collaborations with the deMerc Choir and local artist Anthea Whitworth, whose Pictures From An Exhibition will be brought to life in three mesmerising performances by the ballet school’s young dancers.

[dirac]

A preview of Ballet West in "The Lottery" by Kari Kenner in The Daily Herald.

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Caniparoli said he has always wanted to present "The Lottery" as a ballet, and even received permission from Jackson's son to do so, but without the correct music or company, he kept postponing production. Finally, he collaborated with Ballet West artistic director Adam Sklute, and the pair elected to commission composer Robert Moran to create an original musical score to accompany the work. Through collaborations with Moran, as well as the light, costume and set designers, the work was finally prepared for its debut after 15 years of evolution.

As if being a professional performer isn't stressful enough, in Caniparoli's work, the lottery is real, and no one knows from night to night who will be selected to be the sacrifice and complete the ballet.

[dirac]

Dance listingsin The New York Times.

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[Morphoses:] With its complex web of interlocking relationships, the work shifts between live performance, set to David Lang’s original score, and Mr. Lidberg’s award-winning 2010 film “Labyrinth Within,” starring the New York City Ballet principal Wendy Whelan, Giovanni Bucchieri and himself. The live cast includes the soloists Isabella Boylston of American Ballet Theater and Adrian Danchig-Waring of City Ballet.....

[dirac]

Peter Frampton will collaborate with the Cincinnati Ballet.

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Frampton will provide music for the production, which will be performed three times on April 26-27 at the city's Aronoff Center for the Arts. Two of the show's segments will be choreographed to existing Frampton songs -- with Frampton and his band playing live -- while a third section will feature a new piece of music he's composing with regular collaborator Gordon Kennedy.

"We've been working on this for the last month, and we're about three-quarters of the way through the 20 minutes," Frampton tells Billboard. "I love dance. I love ballet. All my girls went through that, so, yeah, I'm very excited about it."