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Saturday, April 20


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#1 dirac

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Posted 20 April 2013 - 08:19 PM

Reviews of Carolina Ballet.

Triangle Arts & Entertainment

It’s a playful and fun high energy ballet with a clear and simple narrative. Perez, Martinez and Kapin are fireballs. A pas de deux by Lilyan Vigo and Gabor Kapin is a quiet moment that shows a sensitive side to Sailor Kapin. I grew up watching and loving Gene Kelly in MGM musicals like On the Town, a movie based on the ballet Fancy Free. Martinez nearly captures the essence of Gene Kelly. He has the athletic ability to, not spring, but push himself solidly into the air, and the grace to hang there for a time before landing softly. A few more tap dance lessons and the transformation would be complete.


News & Observer

Lynne Taylor-Corbett has created many fine pieces for the company but none more inventive and audience pleasing than “Carolina Jamboree.” Inspired by the music of the Triangle-based band Red Clay Ramblers, the three-part work exudes homespun sensibilities. The band’s live participation adds toe-tapping verve and soulful vocals.


Read more here: http://www.newsobser...l#storylink=cpy



#2 dirac

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Posted 20 April 2013 - 08:36 PM

Reviews of the English National Ballet.

The Independent

Not much ecstasy there, then. That comes in the opener, Petite Mort, whose very title is double-edged, its being a term used in fencing, and the French for orgasm. It took a choreographer as artful as Jiri Kylian to make a ballet that melds imagery of both. ENB's dancers, performing it for the first time, make a good, er, stab at looking sexy in their contortions in nude fencing corsets. And the girls prove comically adept in a gag involving wayward crinolines. Ultimately, though, the company has a way to go before it achieves the devastating sleekness of Nederlands Dans Theater in this piece. No doubt Rojo is on to that.


Londonist

Roland Petit’s Le Jeune Homme et le Mort, set to Bach’s Passacaglia in C Minor, tells of an artist who becomes so infatuated with an indifferent woman that he is driven to despair and suicide. When the muse is played by Tamara Rojo, ENB’s new artistic director, it is hardly difficult to see the attraction. She can be flirtatious, flashy and cheeky, and combines some smooth rounded movements with highly charged apathy and fascinating rhythmic pulses. Nicolas Le Riche is a brilliant match for her as his muscular, steadfast technique actually proves perfectly suited to portraying anguish, obsession, vulnerability and madness.



#3 dirac

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Posted 20 April 2013 - 08:37 PM

A review of the ENB and the National Ballet of Canada by Luke Jennings in The Observer.

If the delicate filigree of Ratmansky's 24 Preludes, made earlier this year for the Royal Ballet, shows us the choreographer in rococo mood, here he delivers a fuller-blown Romanticism. His musicality is impeccable, but he's inclined to gild the lily. There are moments, as Kenneth MacMillan demonstrated with such eloquence in his own 1965 version of the ballet, when a look or a limpid stillness conveys more than an ornate flurry of steps.



#4 dirac

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Posted 20 April 2013 - 08:38 PM

A review of Ballet San Jose's final performance of the season by Rita Felciano for The San Jose Mercury News.

In an evening that was largely contemporary ballet at its edgiest, Gabay's "Amour Gitan" became a lovely interlude of romance a la gypsy. In 1998, she had choreographed it to Ravel's bravura showpiece "Tzigane" for herself and now Ballet Master Raymond Rodriguez. A splendid Maykel Solas partners her in these final performances.



#5 dirac

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Posted 20 April 2013 - 08:44 PM

A review of the Royal Ballet in 'Mayerling' by Sarah Crompton in The Telegraph.

At its heart is a performance from Watson that is almost unbearably painful and compelling. From the second we meet him, scandalising the court by dancing with his mistress on his wedding day, his Rudolf is consumed by melancholy and alienated despair. Watson turns the circular movements of his arms into something like a sigh; the contorted shapes of his body, the long, yearning arabesques become outward signs of inner anguish.



#6 dirac

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Posted 20 April 2013 - 08:50 PM

A review of Oregon Ballet Theatre's 'American Music Festival' by Catherine Thomas in The Oregonian.

McIntyre's work, for five dancers, snaps the audience from its reverie. A sly take on frontier America pre-Civil War, it's set to the old-timey melodies of Seattle's Fleet Foxes and danced with sharpshooter attitude. Melissa Schlachtmeyer's costumes are inspired, if subversive: vaguely regimental tailcoats worn open over leotards that leave little to the imagination.




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