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Tuesday, March 26


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#1 dirac

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Posted 26 March 2013 - 10:29 AM

A review of the American Repertory Ballet's "Rite of Spring" by Robert Johnson in The Star-Ledger.

Part sentimental tribute and part screwball comedy, Martin’s "Rite" avoids primitivist clichés and, in gender parity, it manages to find a concept still radical enough to make audiences squirm. This "Rite" offers a feminist parable, as in a dance of fraught intensity, Martin’s Chosen One — she chooses herself — struggles to achieve equality by donning the sports coat of an Adman who has been weakened in ritual combat. The loutish Admen — prostrating themselves before the Boss and fawned upon, in turn, by Secretaries — are recognizable specimens. They represent the persistence in modern times of despicable human failings like clannishness and tyranny. For Nijinsky’s mystic circles, Martin substitutes "The Feminine Mystique." And it works.



#2 dirac

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Posted 26 March 2013 - 10:43 AM

The Guardian reprints reviews of "Rite of Spring" from 1913.

Perhaps in an attempt to avoid such a reception at its first London performance, the ballet was preceded by a lecture so as to prepare the audience for what was in store. The Manchester Guardian's Francis Boyd thought this 'unnecessary' (12 July 1913), while the Observer described the ballet as a 'musical impertinence'.



#3 dirac

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Posted 26 March 2013 - 10:49 AM

Q&A with Margo Sappington.

Do classical dancers have a hard time adapting to your musical choices? I don’t think so. If anything it draws them in more because the music is popular so it’s not as intimating to them. They can relate a little better to it than something that is only classical. They get a little more excited and can really feel the rhythm in the music more.



#4 dirac

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Posted 26 March 2013 - 10:52 AM

The Week collects critical reactions to "Alice's Adventures in Wonderland," with links to reviews.

It's a delirious flurry of invention, says David Jays in the Sunday Times. Talbot has created a "glorious moving toy shop" of a score and Crowley's set is perfectly discombobulating. "It's sure to be a treat on screen."



#5 dirac

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Posted 28 March 2013 - 10:52 AM

An interview with Margo Sappington.

“My mother was of another generation that believed every young girl should take ballet so she would know what to do with her hands and feet,” she says. “It’s part of your education — your grace and poise. She didn’t realize it was going to take over my life, and she was very proud.”

Robert Joffrey discovered Sappington when she was 17. She was taking classes from him at the Joffrey Ballet School in New York between her junior and senior years. After graduation, she joined the company.



#6 dirac

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Posted 29 March 2013 - 11:21 AM

The nominations for the 2013 Olivier Awards are announced.

Dance nominations are split between The Royal Ballet and Sadler’s Wells, with notable opera nominations including three out of four nominations for English National Opera for ‘best new opera , and the stage management teams at ENO London Coliseum and the Royal Opera House nominated for ‘outstanding achievement in opera’.



#7 dirac

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Posted 31 March 2013 - 03:38 PM

Notes on the music for San Francisco Ballet's "Onegin."

Kurt-Heinz Stolze's arrangement and orchestration melds a dozen works — including excerpts from Eighteen Pieces for Piano and Romeo and Juliet — into a vital whole.




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