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Friday, November 16


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#1 dirac

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Posted 16 November 2012 - 11:49 AM

A review of Complexions Contemporary Ballet by Robert Johnson in The Star-Ledger.

Today, the company still pays lip service to that promise. A vibrant new dance
by guest choreographer Camille A. Brown highlights its current slate at the Joyce Theater, where Complexions repeated its opening night program on Wednesday. Yet the season opener is still sloshing in the bilge of Rhoden's choreography. The radiant beauty of the dancers continues to be this troupe's main attraction. Why does Rhoden keep torturing us?



#2 dirac

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Posted 16 November 2012 - 11:51 AM

A review of the Royal Ballet by Louise Levene in the Telegraph.

The result, Viscera, now has its UK premiere. Set to Lowell Liebermann’s first Piano Concerto, the 16-man piece is further proof of Scarlett’s ability to fuse the sassy classicism of Balanchine with the quicksilver musicality of Ashton. Laura Morera was an ebullient mistress of revels in the first and third movements, but it is the emotionally charged central duet for Marianela Núñez and Ryoichi Hirano that lingered longest.



#3 dirac

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Posted 16 November 2012 - 04:57 PM

The Houston Ballet's Nutcracker Market sees a rise in sales this year.

The merchant sales represented an 8.6 percent increase over the roughly $16.5 million reported in 2011. That year, the market reported a similar increase of 8.4 percent over the 2010 sales.



#4 dirac

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Posted 16 November 2012 - 05:04 PM

Darcey Bussell's interjectory "yahs" on Strictly Come Dancing inspire some less-than-positive comment.



“Oh yes, my fabulous ‘yeaahhh, yaa’” she said. “I think it was nerves and also I think when I coach dancers I want them to communicate with me so I kept expecting a response.


“But Strictly couples don’t say anything and I found that very strange to begin with. I think with one person I must have said about six yas. I think it was Victoria (Pendleton, the cyclist)...."



#5 dirac

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Posted 17 November 2012 - 09:39 PM

A review of San Francisco Ballet in 'Romeo and Juliet' by Sarah Kaufman in The Washington Post.

This production, choreographed by Artistic Director Helgi Tomasson, is aesthetically of a whole. It is tasteful, visually handsome and civilized in manner from start to finish. (The hookers are emphatic but never vulgar.) The dancing was clean, crisp. In the leading couple, Maria Kochetkova and Joan Boada, it was fully elegant. All the ballet lacked was dramatic vibrancy, the kind that draws you deeply into the story not merely as an admirer of the mechanics but as a participant in its emotional unrest.



#6 dirac

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Posted 17 November 2012 - 09:42 PM

An update on Carlos Acosta's project to restore a Cuban ballet school.

The building, designed by the Italian architect Vittorio Garatti, is part of a complex of five National Art Schools commissioned by Fidel Castro in 1961 and built in a frenzy of revolutionary optimism on the lush grounds of a former country club.

The architects — Ricardo Porro, a Cuban; Roberto Gottardi, an Italian; and Mr. Garatti — created a serpentine maze of buildings intended to epitomize “the utopian aspirations of the revolution,” according to John A. Loomis, whose book about the schools, “Revolution of Forms,” inspired the 2011 documentary “Unfinished Spaces.”


The building, designed by the Italian architect Vittorio Garatti, is part of a complex of five National Art Schools commissioned by Fidel Castro in 1961 and built in a frenzy of revolutionary optimism on the lush grounds of a former country club.

The architects — Ricardo Porro, a Cuban; Roberto Gottardi, an Italian; and Mr. Garatti — created a serpentine maze of buildings intended to epitomize “the utopian aspirations of the revolution,” according to John A. Loomis, whose book about the schools, “Revolution of Forms,” inspired the 2011 documentary “Unfinished Spaces.”

Read more: http://www.cubaheadl...l#ixzz2CYAxSUlH
Original article here!




Read more: http://www.cubaheadl...l#ixzz2CYAxSUlH
Original article here!



The building, designed by the Italian architect Vittorio Garatti, is part of a complex of five National Art Schools commissioned by Fidel Castro in 1961 and built in a frenzy of revolutionary optimism on the lush grounds of a former country club.

The architects — Ricardo Porro, a Cuban; Roberto Gottardi, an Italian; and Mr. Garatti — created a serpentine maze of buildings intended to epitomize “the utopian aspirations of the revolution,” according to John A. Loomis, whose book about the schools, “Revolution of Forms,” inspired the 2011 documentary “Unfinished Spaces.”

Read more: http://www.cubaheadl...l#ixzz2CYAxSUlH
Original article here!




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