Do you think about retirement or a successor?
I have an internal clock in this sense. I have unfinished business still. My plate is pretty full, and I have a lot of energy. But on the other hand, it will become apparent if it is time for me to go. I watch everything and everyone; I don’t miss a trick. I know who is interested, and I know why. The only thing I will say about my successor is that I wish them luck. It’s not glamorous. It is one huge tough commitment. Mr. B always used to say, “Things will emerge; you don’t have to search for them.”
Friday, April 19
Posted 19 April 2013 - 10:08 AM
Posted 19 April 2013 - 10:11 AM
And there is Alexey Ratmansky’s recent choreography, sometimes determinedly jokey and needing sedation, and failing signally to explain the world of young love and feuding families that is its concern. And there, too, are the dancers, beating themselves to a pulp in an attempt to make us believe that we are watching Shakespeare’s tragedy. Not a bit of it! What I saw was an all-too-earnest response to Prokofiev’s score by artists who deserve better, from a choreographer who has done much, much better.
There is a real sense of family dynamics here, too. Juliet's relationship with the Nurse - an obvious mother-substitute - is conveyed with great affection. A terrific final scene in the tomb - as Romeo slides Juliet from the marble bier like dead dough and they squeeze in one final dance before he collapses - caps this pretty, if undemanding production.
Posted 19 April 2013 - 10:13 AM
Sets, props and backdrops from the Birmingham Royal Ballet (another Webb connection) were on a grander scale than one usually sees with a company of this size.
And the live music provided by the Sarasota Orchestra, under the baton of Ormsby Wilkins, conductor for American Ballet Theatre (another Webb friend), lifted the entire enterprise immeasurably.
Posted 19 April 2013 - 10:15 AM
At a rehearsal the week before the production, while the dancers rehearsed in one studio, the costumers gathered the newly sewn costumes in the other, preparing for fittings. Kay Hackney, who has sewn costumes for all North Star Ballet productions, got out Sullivan’s original drawings: the prince’s hunting costume, the spiky and fanciful monsters, the princesses’ gowns, the giant beetle-like wings of the evil magician, Kostchei, blue and gold on the outside, lined with orange and black.
Posted 19 April 2013 - 10:19 AM
For the movie, starring Leonardo DiCaprio, Isla Fisher and Carey Mulligan, has brought F Scott Fitzgerald’s American classic into the spotlight once more.
But artistic director, David Nixon, says they had already decided to tour their version before they knew about the film.
“I’m not unaware that it is pretty good timing for us,” he admits.
Posted 20 April 2013 - 08:21 PM
If the steady stream of spectators at Wonderbound's new space in downtown Denver is any indication, the experiment is working. The company moved into the former Weisco Motorcars building at 1075 Park Avenue West on March 5, and its open-doors policy means anyone can pop in and watch a rehearsal.
Posted 20 April 2013 - 08:24 PM
Yuma police began an investigation into allegations against Wong on Sept. 20 after being informed by the University of Arizona Police Department that they had arrested him for secretly videotaping university dance students using a hidden camera.
During Wong's interview with university police, he told them he had also secretly videotaped victims in various stages of dress at three locations in Yuma: at the Yuma Ballet Academy in November 2010, during a dance performance of “Sleeping Beauty” at the Historic Yuma Theatre in 2011 and during 2011's performance of “The Nutcracker” at Snider Auditorium.
Posted 20 April 2013 - 08:29 PM
Except, it truly isn’t. For one thing, Georges Wakhévitch’s designs are terrific – oppressively though elegantly claustrophobic for the main body of the piece, with a marvellously rendered coup de théâtre at the close. For another, Petit’s steps fizz with drama and energy, and when the two parts are taken by dancers of the calibre of Tamara Rojo and Nicolas Le Riche, the whole thing is so blazingly erotic that it should probably have some sort of health warning.
The new work is Jiri Kylian's Petite Mort. Created in 1991, it's a piece that posits sex and death as metaphysical equivalents, with the steel-etched duets that the men dance with their fencing foils prefiguring those they dance with their women. Kylian's choreography merges a quivering, slicing ferocity with a baroque vocabulary of entwining, coiling seduction. And even though ENB's cast can't rise to the taut perfection of Kylian's own dancers, it's a pleasure to see the women, especially, digging into very adult reserves of attack.
The Evening Standard
It’s a complete contrast to the third work, Harald Lander’s Etudes, based on a dancer’s daily class. This one’s not so sexy, but there’s definitely something fetishistic going on the way the body parts are isolated in geometric drills, especially in the opening barre exercises. You need the perfectly identikit moves of a North Korean military regiment to carry it off and they’re about 90 per cent there. As the dancers move to bigger and bigger steps and jumps it’s a reminder of how arduous this ballet lark is. They look knackered by the end. Could do with more zing.
Posted 20 April 2013 - 08:32 PM
It’s understandable that Tamara Rojo, in launching her ENB directorship, brazenly confessed that she persuaded Paris Opera Ballet’s Le Riche to dance the work with her as a present to herself. It doesn't matter that Paris’s most exciting star for the past 20 years is 41 now - in his one-shouldered denim dungarees he is homme incarnate, tall, intellectual, charismatic, electrically quick and stupendously hot as the eponymous young man lounging about in his garret waiting for someone (probably a girl) to turn up.
Posted 20 April 2013 - 08:48 PM
In the succeeding years – despite an end to the marriage – Balanchine defined Tallchief’s image. As his Firebird, his Swan Queen, as the prodigious and sensual Eurydice of his and Stravinsky’s new Orpheus, in the bravura of Allegro Brillante and in the delicious Scotch Symphony, as in the general repertory, she was a central and inspiring figure. Her musical sensitivity, an unfailing clarity and a rhythmic sophistication marked her as a superb artist.
Posted 22 April 2013 - 03:23 PM
Titled The Experiment, the project has been organised by the Female Choreographers' Collective, which was set up last year to encourage debate and co-operation among women in dance. Holly Noble, co-founder of FCC, doesn't believe The Experiment can provide conclusive proof for or against a male-female gap in style or subject matter. But she does hope the questions she asks the audience will provide clear information about the ways in which people react to dance and enrich the debate about why men's work is apparently so much more successful than women's.
Posted 23 April 2013 - 09:51 AM
“ It takes a lot of self-motivation,” said Christina, about being a ballerina. “It is very hard on your body. You have to be in love with it.”
Landing a performing arts job with the Miami City Ballet is no small feat. As with many dancers, her is a story of overcoming major odds to follow her passion – leaving her family home and friends in a small Arizona town at age 15 to live in a strange city, overcoming what could have been a career-ending injury and choosing an extremely competitive genre that not only requires an extraordinary level of commitment but have very few roles for a young black ballerina.
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