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dirac

Saturday, March 23

8 posts in this topic

A review of BalletMet Columbus by Jennifer Hambrick for The Columbus Dispatch.

Andres Estevez’s athletic yet supple dancing was the silent bridge between the solo flute of Syrinx and the solo, performed beautifully last night by principal flutist Randall Hester, at the opening of Debussy’s Prelude to the Afternoon of a Faun. Amedeo Amodio’s choreography evoked at once antiquity and the avant-garde, turning Estevez and Benz into figures like those on Greek vases through movements at once seemingly familiar and wholly new.

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A review of Cincinnati Ballet by David Lyman for the Enquirer.

About 10 minutes before Alejandro Cerrudo’s “Extremely Close” begins, feathers begin to waft down onto the stage. Slowly, softly, they flit their way to the stage. It’s hypnotic. In a sense, the dance has already begun, as if Cerrudo and his feathers are throwing down a challenge to gravity.And that is before the first dancer arrives on the stage.

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A review of Minnesota Ballet's last program of the season by Lawrance Bernabo for The Duluth News Tribune.

The evening began with “Two Andantes” by guest choreographer Penelope Freeh, last seen in this neck of the woods in 2008 when she debuted her “Flying Over Greenland” piece. With music by Franz Schubert and featuring particularly pretty costumes for the ballerinas by Kathryn Marsaa, “Two Andantes” continues Freeh’s exploration of unconventional movement.

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A review of Ballet San Jose by Rita Felciano in The San Jose Mercury News.

In its second program this season, San Jose Ballet proved itself sure-footed and self-confident Friday night as it tackled works by Frederick Ashton, Stanton Welch and Clark Tippet, 20th century choreographers so steeped in classical ballet that they could put their own twists and perspectives on the tradition without losing sight from their roots.

Ashton's 1933 "Les Rendezvous," to a sprightly score by 19th century composer Daniel Auber, was the evening's only company premiere. The ballet charms with its apparent ease but the incisive footwork, the speed and constant changes of direction with an upper body that stretches and bends every which way are demanding. For the most part, the company took well to intricacies of this lighthearted divertissement.

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Ruby Warrington works out with Mary Helen Bowers via her laptop.

Mary Helen has been training clients remotely since 2008, when she was working with Natalie [Portman].

‘She was amazing for my business, but at the same time it meant I travelled with her a lot,’ says Mary Helen. ‘I didn’t want to leave my other clients hanging, so I bought a laptop and started training people over Skype.’

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An interview with dancer/photographer Andrej Uspenski .

Being in the unique position of having a dancer’s eye with unparalleled access to the rehearsal and backstage spaces, Andrej has gone on to compile an amazing collection of photographs over the past five years, now brought together in a sumptuous new book.

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Mug shots of British leaders of top arts organizations.

Last week the Royal Opera House appointed its new chief executive … just the latest in a long line of male appointees to head up our cultural institutions.

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An inquiry into sexism in the arts world by Vanessa Thorpe in The Observer.

The decision to appoint two men to such influential roles is far from unusual. In fact it's the norm. Across Britain the great majority of powerful artistic and cultural jobs are still being done by men. We may have a female culture secretary in Maria Miller, but there are only a handful of women running leading theatres, funding bodies, institutes, galleries and museums.

For Baroness Bakewell, 79, who began her career as a TV presenter in the 60s, the fact little has changed is shocking. "It is a conspicuous problem," she said this weekend. "Especially when we know that when women get there, they are really terrific."

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