“Touring dancers and crew members have to adapt to change constantly,” Dukhnina said. “The whole troupe is involved, starting with the technical staff. They need to design tour-friendly productions and adjust them to suit different venues. The dancers must be prepared to cover a broad range of roles and say ‘goodbye’ to the comfort of their homes and main theater, adjust to new food and new performing venues.”
Wednesday, January 16
Posted 16 January 2013 - 05:12 PM
Posted 16 January 2013 - 05:14 PM
“Mozartiana,” however, has become a problem ballet. It’s worth recalling that when it was new it seemed to be one of the ultimate achievements of Balanchine classical style, above all in its ballerina role. It extended our idea of Tchaikovsky, of Balanchine and of Suzanne Farrell (who created its heroine). And it’s not many years since Kyra Nichols and Nina Ananiashvili also illumined it in recent years. In his score Tchaikovsky arranges four different pieces of Mozart; on Tuesday only Daniel Ulbricht, dancing the gigue, showed any Mozartian wit. The music needs to be embodied and sometimes played with; Maria Kowroski and Tyler Angle merely followed it, without luster, heroism or sparkle.
Contemplating the New York City Ballet’s upcoming four-week festival dedicated to Peter Ilyich Tchaikovsky, principal dancer Sterling Hyltin admits that her favorite ballet by the composer is Serenade, pointing to George Balanchine’s innovative choreography in combination with the majestic music. “When the curtain goes up, you see all the girls on stage, and they are bathed in a blue light with their arms raised,” says Hyltin. “It gives me chills whether I am standing backstage about to dance or if I am in the audience. It is the most breathtaking moment.”
Posted 16 January 2013 - 05:17 PM
The performance marked the third time that the State Ballet troupe has visited the auditorium and if the size of Thursday night's crowd is any indication, local demand remains high.
Posted 16 January 2013 - 05:57 PM
Whether you are an avid Swan Lake fan or you were just dragged along by a friend who is, you're in luck this season. We've spotted a number of heartthrobs on stage, who will be reason enough for you to attend the ballet. Check out five of the ballet world's newest, hottest, male dancers, and find out where they will be performing this year.
Posted 16 January 2013 - 06:00 PM
Where Viscera seemed rushed and almost disheveled, Euphotic is calculated. Every movement, from precise snaps of the head to the position of each hand, is carefully considered. The musical lines are perfectly matched to every turn, leap and lift with the dancers becoming visual extensions of the orchestra.
Posted 16 January 2013 - 06:06 PM
The novel begins in 1878, when Marie is 13. She lives with her two sisters and their mother, an oft-drunk laundress, in a cramped Paris apartment. Her father recently died, yet the landlord shows the family little mercy: if they don’t pay the rent, they’ll be out on the street. Marie and Charlotte, her younger sister, try out for the Opera’s dance school, whose students earn 70 francs a month, enough to pay the rent. There, Marie has ample opportunities to earn extra income; she meets Degas, who invites her into his studio to model, and Monsieur Lefebvre, who offers to become Marie’s “abonné,” men who sponsored the dancers and sometimes expected a little extra for their patronage.
Two related stories:
The Globe and Mail
Posted 16 January 2013 - 06:08 PM
Now Is All There Is – Bodies in Motion, a series of 34 images created over the past two years, captures the astonishing poise and expression of the dancers' bodies away from their workaday environment at the Royal Opera House....
Posted 16 January 2013 - 06:10 PM
As a principal dancer with the Australian Ballet Company Daniel works six days a week, with three weeks off a year.
He said many people got married or held celebrations during those three weeks and he married his wife Lana Jones, who is also with the Australian Ballet Company, during that period one year.
Posted 17 January 2013 - 11:47 AM
In this ballet Balanchine not only used the familiar Overture and incidental music but also the Athalie Overture, the Fair Melusine, The First Walpurgisnacht Night, Symphony no. 9 for Strings and other less well known Mendelssohn works. The ballet is, as the King sings in The King and I, a puzzlement. Act I depicts the story in mime and dance, but Act II virtually dispenses with the story and concentrates on pure dance. When it first premiered in 1962 it was not exactly greeted with encomiums. But audiences did not seem to care. It has remained one of the company's most popular ballets and I almost dare anyone not to go and come out smiling, especially after watching Puck ascending to the heavens in the finale.
Posted 17 January 2013 - 12:03 PM
The three concerts, sponsored by Dance St. Louis, are Friday, Jan. 25, at 8 p.m. and on Saturday, Jan. 26, at 2 p.m. and again at 8 p.m., at the Touhill Performing Arts Center, University of Missouri-St. Louis.
Under the artistic direction of Andre Lewis, the company celebrated its 70th birthday in 2009 with the commissioning of this work. The company is the oldest continuously operating ballet company in North America.
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