Yet how quickly things can change. Two decades after the end of Communism, and eight years after joining the European Union, the Polish National Ballet is performing a program as international and as challenging as any major company today.
Called “Echoes of Time,” it features the brand-new “Century Rolls,” by the British choreographer Ashley Page; a 2008 work, “Moving Rooms,” by Mr. Pastor; and William Forsythe’s seminal “Artifact Suite,” taken from his 1984 full-length “Artifact,” and still a thrilling primer for the development of post-Balanchine classical ballet.
Thursday, November 22
Posted 22 November 2012 - 05:42 AM
Posted 22 November 2012 - 05:48 AM
“We’re playing in eight cities, and Savannah is the only city where we’ve found the talent to sustain Clara,” says William Starrett, executive and artistic director of the Columbia City Ballet. “That speaks to the level of talent Florrie has.”
Whenever possible, a local Clara is chosen. Otherwise, the role is danced by company members.
Posted 22 November 2012 - 05:53 AM
Created and choreographed by company founder Gail Choate-Pettit with Melissa Moore, the lavish production will star Jeff Boze as both Drosselmeyer and Mother Ginger. Hanna Rose Stangebye and Alex Hlavaty will dance the roles of Sugar Plum Fairy and her cavalier.
This is the largest cast the company, formed in 2004, has brought to the production.
Posted 22 November 2012 - 05:56 AM
Such are the financial constraints that the two lead dancers, Monica Fotescu Uta and Sergio Torrado (who was Natalie Portman’s partner in Black Swan), don’t arrive until the day before the production opens.....
Foley says that some dancers would get in the region of €15,000 per performance in New York. “Basically, what you’re talking about is the equivalent of Beckham coming to Cork,” he says. “The lead guys we get come for a fraction of what they get elsewhere. They do it because I know them and I ring them and say we have nothing. When we didn’t get funded this year, I said to myself, this is it, I am done. I already felt that it was a constant uphill struggle and this year especially I felt the legacy of Joan Denise was being overlooked greatly by the Arts Council. There comes a point when I had to say, who am I doing this for? You feel like no-one gives a sh*t, but then you get back on the treadmill and start calling around and bit by bit we got there.”
Posted 22 November 2012 - 06:02 AM
In the first stage of the performance the staff of the theatre will introduce different parts form "Romeo and Juliet" and "Spartacus" ballets. As to the second stage of the performance the audience will watch "Tango" ballet. Among other things Kharatyan stated that before January they will introduce other performances in Sundukyan State Academic Theatre of Yerevan as well.
Posted 22 November 2012 - 06:06 AM
"These are the sorts of dancers they would normally have to travel to large venues to see and now Devon people are going to see them dancing on their doorstep – almost literally," said Dance In Devon director Gillian Dale.
Posted 22 November 2012 - 06:07 AM
n this version, instead of the Land of Sweets, Masha (also known as Clara) is taken to the Land of Peace and Harmony. Todinova dances in the new "Dove of Peace" scene, which was inspired by the early works of Stanislov Vlasov, the original choreographer and director of Moscow Ballet's first "Great Russian Nutcracker."
Posted 22 November 2012 - 06:12 AM
Livermore's full-blown Nutcracker is performed by the Valley Dance Theater, which bills itself as the Tri-Valley's premier ballet company, and the Livermore-Amador Symphony. The production features dozens of local dancers of all ages who skillfully perform the Tchaikovsky classic.
"Our Nutcracker is unique in that we're one of the few companies that does a full Nutcracker with no professional dancers," said Heather Whitley, a Lawrence Livermore Laboratory physicist who's in the production. "Every single dancer that you see on stage is either a kid who takes dance classes or an adult who's doing this in their spare time."
Posted 22 November 2012 - 06:14 AM
-Had you heard about the Mongolian ballet scene before this exchange?
-I trained for a year in Moscow, at the ballet school. There was a whole bunch of Mongolian dancers there. I’m not pandering here, but they were actually really amazing dancers, so I was aware Mongolia has some very high quality artists. I wasn’t sure what the State Academic Theatre would be like, but they sent me a video and it was quite interesting. G. Tsolmon is a beautiful dancer so it’s very easy to partner up with her, it’s been a pleasure. I might add that the orchestra is of a very high quality, possibly better than what we have back home.
-Can we discuss the dance you will be performing; Giselle? What are your thoughts on this particular piece?
-Giselle is one of my all-time favourite ballets; Albrecht is one of the quintessential male roles. It’s a journey, Albrecht is a young cad and he’s lived a lot in a very short amount of time. He’s felt forgiveness, he feels regret and loss, it’s very emotionally draining to perform the role, but it’s deeply satisfying as well. It’s a ballet that I’ve watched since I was a child and of course Albrecht is a role that I loved. It’s been a few years since I’ve done it, so I’m looking forward to revisiting it, and with such a large gap it’s interesting to see what I can bring to the role, with my own life experiences and how I can enrich this character.
Posted 22 November 2012 - 06:22 AM
Principal artists Adam Bull, Lana Jones and Amber Scott, and senior artist Rudy Hawkes, danced excerpts from some of ballet's most loved works including After the Rain, Giselle, Manon and Stephen Baynes' brand new Swan Lake.
Posted 23 November 2012 - 10:50 AM
Pushing yourself is something Jerry McCarthy, 58, who plays Herr Drosselmeyer, knows all about. This is his 11th year in the ballet, he said. He began appearing in the ballet when his daughters took up dancing. “What a great way to stave off Alzheimer’s, learning ballet in your 50s,” he joked.
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