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Wednesday, April 17


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15 replies to this topic

#1 dirac

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Posted 17 April 2013 - 11:43 AM

Speculation from Judith Mackrell iin The Guardian on changes the addition of Natalia Osipova might make to the mix at the Royal Ballet.

However, the fact that Vasiliev himself hasn't been hired by the Royal has sparked another round of speculation as to who might be partnering Osipova on the London stage. Her debut with the company will be with Carlos Acosta, in MacMillan's Romeo and Juliet, but one other name that's been thrown into the ring is Edward Watson. The pale, lean and wired Watson could certainly spark an interesting chemistry with Osipova's concentrated energy, especially if they're cast together in the ballets of Wayne McGregor (who's made no secret of his admiration for the Russian ballerina and his interest in working with her).



#2 dirac

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Posted 17 April 2013 - 11:46 AM

Video of Mike Piazza essaying some ballet moves prior to his debut with Miami City Ballet.

......watch ex Mets catcher Mike Piazza perform his first ballet “fish dive”(insert Beavis and Butthead snicker here, heheh) with Miami City Ballet principal dancer Patricia Delgado.



#3 dirac

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Posted 17 April 2013 - 11:47 AM

An interview with Tamara Rojo.

Le Jeune Homme is daring, rivetingly sexy ballet – forget tutus and fairy tales. The company is also performing Jirí Kylián’s edgy, sensual masterpiece Petite Mort for the first time – and Rojo is promising more sizzle to come.

‘Classical ballet in Britain is very conservative,’ says Rojo. ‘There are 30-year-old choreographies done in Europe that, if we brought them here, people would think were shocking. I’m just trying to portray grown-up relationships on stage.’



#4 dirac

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Posted 17 April 2013 - 11:50 AM

Sarasota Ballet announces its 2013-14 season.

In addition, the final program of the regular season — which features ballet superstars (and off-stage couple) Johan Kobborg and Alina Cojocaru — will be followed by the as-yet unfinalized "Sir Frederick Ashton Festival 2014."



#5 dirac

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Posted 17 April 2013 - 11:52 AM

A review of the Cairo Opera House Ballet Company by Thoraia Abou Bakr for Daily News Egypt.

Being a fan of Indian music and movies, I was excited to attend the Bollywood dance concert held at the Cairo Opera House. My anticipation was dampened when I found out that all the dancing would be performed by the Opera House’s own mediocre ballet company. Being an avid fan of ballet, I often trekked my way to the opera house to see performances during my childhood. That was when the Cairo Opera Ballet Company could actually dance, but sadly since the mid 2000s this has changed. Today the ballet company is a home for mediocre dancers, laughable costumes and crazy choreographers.



#6 dirac

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Posted 17 April 2013 - 11:53 AM

A preview in brief of Madison Ballet's new program.

For the first time, Madison Ballet will perform a ballet by the twentieth century master, George Balanchine, when it presents Valse-Fantaisie, a whirl of perpetual motion for one male and 5 female dancers. Valse-Fantaisie premiered in 1967 and is presented in conjunction with the George Balanchine Trust.



#7 dirac

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Posted 17 April 2013 - 12:05 PM

Reviews of Northern Ballet in "The Great Gatsby."

Milton Keynes Citizen

Company dancer Sean Bates is from Milton Keynes and trained at the Royal Ballet School and he did us proud with some powerful jumps and strong grand jetes (leaps) as a party guest.

Northampton Chronicle & Echo

I am not a huge lover of ballet but even I could see that this production is truly brilliant.



#8 dirac

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Posted 17 April 2013 - 02:18 PM

A review of American Ballet Theatre in "Le Corsaire" by George Jackson in danceviewtimes.

.............To see Vasiliev in white tights was a shock. His legs have gained mass. However, mass x acceleration = force. The force of of Vasiliev's dancing is phenomenal. One's eyes don't just see the impact he makes but feel it. In splits, he raises his legs so that the toes touch the palms of his outspread hands. In leaps, he switches direction with a snap. Where does the energy go when he suddenly stops in his tracks? An amazing contrast is Simkin's Ali. The supple flow of his torso and the quicksilver spins suggest that the slave he plays must have been born a prince. As villain, Salstein is a tough cookie. Among the women, Osipova keeps up with the men. There's a lift to her dancing that gives it spontaneity. She phrases precisely without seeming sharp. Temperamentally, though, Osipova isn't given to wooing the viewers.



#9 dirac

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Posted 17 April 2013 - 02:23 PM

Q&A with José Navas by Paula Citron in The Globe and Mail.

You are best known as a contemporary choreographer. What’s it like working with ballet dancers?
It’s a whole new chapter in my life. I’m excited by the possibilities of what that block of wood in a point shoe can do, like a perfect circular spin. A ballerina can do things that you can’t do in bare feet. I’m fascinated by ballet technique and the very specific elements that a choreographer must work within. The challenge is creating movement that fits into the formality of the ballet aesthetic. I’m offering the audience what I imagine classical dance to be – the quality of movement as I see it.



#10 Helene

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Posted 17 April 2013 - 09:58 PM

Michael Popkin interviews Dorothee Gilbert for his blog in danceviewtimes.

What are you dancing at the gala on Thursday?

I’m doing the balcony pas de deux from MacMillan’s Romeo and Juliet with Marcelo Gomes.

Is that the version of the balcony scene that I found on YouTube, where you’re dancing with Hervé Moreau?

No, the You Tube clip is from Nureyev’s version of Romeo and Juliet. I’ve never actually danced MacMillan’s version before, but I’ve got four days to learn it for the gala. But I danced with Marcelo three years ago in Rio and he’s such a good partner and person, and we have a really good feeling on stage, so we should be able to master it nicely. I’m looking forward to it very much.



#11 dirac

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Posted 18 April 2013 - 10:43 AM

A preview of Les Ballets Trockadero de Monte Carlo by Mark Adams for Las Vegas Weekly.

“What we offer is very unique, a fun show,” artistic director Tory Dobrin says. “You don’t see a lot of fun shows out there using dance on such a high level, technically.” But while the 16-member, all-male dance troupe combines comedic flair with classic and modern ballet technique, Dobrin says the Trocks mean no disrespect with their humorous takes on the fine art.....



#12 dirac

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Posted 18 April 2013 - 10:47 AM

A review of Ballet Idaho's "Swan Lake" by Harrison Berry for Boise Weekly.

In an imperfect production weighed down with a huge cast and ankle-bitten with minor slips and stumbles, Taft and Affrunti gave standout performances. Affrunti's pantomiming was executed with conversational fluency and elan. The Russian dancers drew the ballet out of the realm of the purely mythical and attached it to a geographical location, albeit a huge one.



#13 dirac

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Posted 20 April 2013 - 08:41 PM

A review of the Australian Ballet in 'Don Quixote' by Alexandra Brown for Vogue Australia.

Choreographed for The Australian Ballet by famed ballerina Rudolf Nureyev, who played the role of Basilio for decades, this adaptation of Don Quixote is fast-paced and fun. The opening scene introduces the addlebrained Don Quixote on a hunt to find the woman of his daydreams. From here, the energy continues to build to a point where it’s hard to fathom just how the dancers keep going.



#14 dirac

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Posted 20 April 2013 - 08:43 PM

A review of the new book Australia Dances: Creating Australian Dance 1945-1965.

Australia Dances is in many ways a tribute to these schools, and the book breaks down the history of Australian ballet into state-based chapters. Each chapter looks at the development of ballet in each respective state, as well as giving a wonderfully dense description of some of the ballets performed and the schools' teaching codes.



#15 dirac

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Posted 22 April 2013 - 10:52 AM

Animadversions on the topic of "Swan Lake" in the Pacific Northwest Ballet production from Melody Datz in The Stranger.

Swan Lake premiered in 1877. The story is simplistic and sexist, but, like traveling exhibits of the French impressionists and seasonal performances of Handel's Messiah, it's been filling arts palaces around the world for decades. This is weird—cities like Seattle, New York, Boise, and Paris are oozing amazing talent and brilliant new choreographers (Seattle's Amy O'Neal and Jason Ohlberg, Boise's Trey McIntyre) who meld tradition with invention and have thrilling new styles and ideas. And yet, for the eleventh time in the last three decades, PNB will pack a performance hall with spectators paying good money to see a four-act, three-hour ballet about cursed love, royal duty, and zzzzzz...


Doug Fullington no likee review, Brendan Kiley hits back. (Thanks to sandik for the link!)

So Doug: If there's anyone who is less credible in the conversation than the critic, it's the person who has a financial stake in what the critic says.


Edited by dirac, 22 April 2013 - 02:08 PM.
Edited to add second link



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