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Monday, April 1


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#1 dirac

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Posted 01 April 2013 - 09:38 AM

A discussion of ballet in live performance versus cinema transmission by Carrie Seidman in The Sarasota Herald-Tribune.

I loved these additional tidbits, but the dancing — which, in Tampa, had me on the edge of my seat — left me appreciative, but cold. Editing removed technical imperfections and the closeups showed more of the arduous (shiny backs from sweat) than the ardor.

A chat with American Ballet Theatre's Veronika Part and Marcelo Gomes about their emotional connection on stage despite their differences (she's Russian, he's Brazilian) was touching. But the grand pas from the "Nutcracker," with Hee Seo of ABT and Alejandro Virelles of Boston Ballet — which I suspected was filmed at a dress rehearsal — was technically adept but charismatically bereft

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#2 dirac

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Posted 01 April 2013 - 09:39 AM

A story on Andrej Uspenski's new book of photographs featuring Royal Ballet dancers by Jane Shilling in The Telegraph.

Monochrome rehearsal shots show Jonathan Howells in a courtly 18th-century wig, flashing his behind as he prepares to pull on his tights; Marianela Núñez executing a soaring leap in a rehearsal room filled with gossiping colleagues; Zenaida Yanowsky wearing a tatty cardigan as she puts on the fierce make-up of the Red Queen in the Royal Ballet’s current production of Alice’s Adventures in Wonderland.



#3 dirac

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Posted 01 April 2013 - 09:41 AM

Reviews of the Mikhailovsky Ballet in "Don Quixote."

The Independent

Created last year, Mikhail Messerer’s staging is confidently traditional. Vyacheslav Okunev’s sets are full of painted vistas of fantasy Spain. The marketplace is bright with awnings and views of a blue sea; the windmills are satisfyingly sturdy. Don Quixote makes an entrance on a real and very patient horse, with Sancho Panza on an equally real donkey. Conductor Pavel Bubelnikov and the Mikhailovsky orchestra find rich warmth in the oompah tunes of Minkus’ score.


The Guardian

Vasiliev pushed his body to still more outrageous extremes, but again it was the invention with which he embroidered his leaps mid-air, and varied the dynamics of his multiple pirouettes, that made us hold our breath. We had to love him, too, for the attentiveness with which he partnered Osipova and the sweet comedy of his interactions with the action around him. Vasipova – as the ballet world now dubs the couple – may be a show-stopping phenomenon, but they manage to stay inside the ballet's drama, alert and responsive to the rest of the performance.



#4 dirac

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Posted 01 April 2013 - 09:45 AM

A story on Melissa Hamilton by Jonathan McCambridge in The Belfast Telegraph.

She recently revealed the astonishing workload that has helped her rise to the top in the competitive world of ballet.

She said: "I start warming up at about 10'30am. I rehearse from midday until 6.30pm. Then it is two hours for hair and costume before we are on stage. I might start the day with a new pair of shoes and they are written off by the end of it...."



#5 dirac

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Posted 01 April 2013 - 09:46 AM

A look at "Le Sacre du Printemps" a hundred years on by Ismene Brown for The Arts Desk.

This weekend in Moscow the Bolshoi Ballet have launched a terrific festival for the centenary of a piece Russians never saw, though it emerged from the fertile minds of four Russians. Three of the most significant of the 190+ stagings are being shown there: the superb 1975 one by Pina Bausch - probably the greatest of the past 50 years - Maurice Béjart's effective primitivist rout, and a dubious attempt made to reconstruct the lost Nijinsky version from photographs and drawings. There was to have been a new Rite by Britain's own Wayne McGregor over there, only the vicious attack on the Bolshoi's artistic director Sergei Filin made working circumstances impossible, so instead there is another first out there - Russian modernist Tatiana Baganova has made her debut in the Bolshoi at very short notice.



#6 dirac

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Posted 01 April 2013 - 09:47 AM

The Stranglers say they're working on a ballet. Item in brief.

The rockers are using their music as the basis for the unusual production, which is being written by bassist Jean-Jacques Burnel.



#7 dirac

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Posted 02 April 2013 - 10:39 AM

Boston Ballet hires a new chief development officer.

As a development consultant, Hurowitz has worked independently and also with Marts & Lundy, a national non-profit consulting firm, where she had been a senior consultant and planned giving practice group leader for 10 years. She has worked with Boston College, Boston University and Boston University School of Law, John F. Kennedy Library Foundation, Children’s Hospital Boston, Massachusetts Institute of Technology, and the Boston Symphony Orchestra, among others.



#8 dirac

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Posted 03 April 2013 - 11:52 AM

San Francisco Ballet announces the lineup for its 2014 season.

The new choreographic personality next season will be Scarlett, a former dancer who is the latest wunderkind to emerge from London's Royal Ballet, where he was appointed artist-in-residence at age 26. The season will also feature a 20th anniversary revival of Mark Morris' "Maelstrom," the company's first commission from the gifted modernist and set to Beethoven's "Ghost" Trio.

Revivals from earlier seasons will include Tomasson's "Giselle" and "Fifth Season," resident choreographer Yuri Possokhov's "Firebird," Natalia Makarova's setting of Petipa's "Kingdom of the Shades," Christopher Wheeldon's "Ghosts" and Jerome Robbins' "Glass Pieces."




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