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dirac

Friday, March 22

11 posts in this topic

Further on Derek Deane's un-family friendly reaction to Daria Klimentova's pregnancy.

Klimentova’s claims are made in her new autobiography Agony and Ecstasy: My Life in Dance.

The ballerina, who is still a principal dancer at the company, writes: “My pregnancy was confirmed by the doctor, so I then had to go and tell Derek. His first reaction amazed me. I was happily married and approaching 30, and yet he asked me immediately, ‘Are you going to keep it?’

Related.

The ballerina said she did not feel any anger towards the choreographer for his reaction to her pregnancy in 2000. 'No I wasn't really angry,' she said. 'I was very happy to be pregnant.

'Nobody put any pressure on me, I came back three months after... it was completely my decision.

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A preview of New York City Ballet's Kennedy Center engagement and the story of Balanchine's relationship to the music of Tchaikovsky, by Sarah Halzack in The Washington Post.

But it wasn’t just wistful longing that made Balanchine so enamored of Tchaikovsky’s music. The choreographer felt something deeper than that: He sensed a strong emotional bond to Tchaikovsky and believed that he had a unique ability to understand the troubled, depressive composer.

Not long before Balanchine’s death in 1983, he explained in an interview with Russian writer and musicologist Solomon Volkov how Tchaikovsky had influenced his artistry.

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An audio slideshow of backstage scenes at the Royal Ballet.

Photographer Tristram Kenton went behind the scenes to watch as the show came together – from costumes being prepared in the costume store to dancers warming up backstage.

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Ulster Ballet (no, not that Ulster) presents its thirtieth annual Festival of Dance.

Carbone and Fiero said they share the artistic vision of the festival and the company, but she directs and teaches close to 175 students at the Ulster Ballet School of Dance, while Carbone handles the business aspects.

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A review of Grand Rapids Ballet Company by Jeffrey Kaczmarczyk for The Grand Rapids Press.

It was an evening of adventurous, ensemble dance for the entire company, plus five guest artists, in Grand Rapids Ballet's Wege Theatre. Three more performances follow tonight through Sunday.

The challenge, both physically and mentally, was to dance three distinctly different vocabularies in one evening. That was a huge undertaking, and the company led by artistic director Patricia Barker accomplished it with flying colors on Thursday.

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A preview of the troupe's 2013-14 season, also by Kaczmarczyk.

Grand Rapids Ballet Company will revive its production of “Dracula” and debut a new “A Midsummer Night’s Dream” by Olivier Wevers next season.

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A review of Northern Ballet in 'The Great Gatsby' in The Scotsman.

So why is The Great Gatsby less than the sum of its parts? Some of the blame has to lie at Fitzgerald’s door, for creating a novel so beautifully crafted, nothing could ever live up to it. The pick-and-mix score also works with varying degrees of success.

But it’s largely because much of this show operates on a surface level, leaving us feeling a little short-changed emotionally.

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Reviews of Washington Ballet's 'Cinderella.'

The Washington Post

What gives the ballet its crisp, contemporary edge is the high-low aesthetic Webre devised — moments of sentimental elegance alongside rakish shtick. The aesthetic is enhanced by James Kronzer’s black-and-white scenery, the fun colors of Judanna Lynn’s costumes and Tony Tucci’s animated lighting.

Washington Life

As Cinderella, the slight and graceful Maki Onuki is stunning to watch; Artistic Director Septime Webre always knows how to choreograph her to perfection. Whether she is dancing with her broom in a tattered work dress, imagining it’s her Prince Charming, or actually waltzing with him, she is a joy to watch. Her several pas de deux with the Prince (Jared Nelson) are fluid and effortless. Adults may notice that there is a certain je ne sais quoi missing from their chemistry — at times they appear to be going through the motions rather than falling in love — but that will go over the heads of young fans of the classic fairy tale, who will instead by wowed by the gowns and other costumes.

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A preview of the Royal Danish Ballet's "Romeo and Juliet.:

Neumeier’s interpretation of Romeo and Juliet was first performed in Copenhagen in 1974. His interest isn’t in showing off the dancers’ virtuosity for its own sake. As was the case with The Lady of the Camellias, which the Royal Danish Ballet danced last spring, he instead uses movement as a means of characterisation. The lovers appear as imperfect teenagers, and not the obligatory graceful royals – or otherworldly creatures – that we tend to encounter on ballet stages.

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The next installment of Sara Mearns' Huffington Post video blog, "Barre None."

I am currently rehearsing for our upcoming tours to the Kennedy Center in Washington, D.C. and Copenhagen, Denmark. I couldn't ask for more incredible ballets to be dancing: Swan Lake, Vienna Waltzes, Serenade, Symphony in C, and Wheeldon's Carillions. Four Balanchine classics and a new ballet! I wanted to share with you who I get to work with on a each day, the daily grind, I should say, during the rehearsal period.

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