Two elite dancers talking about their injuries - a sure sign of the industry's changing attitude, whereas in the past, dancers hid their pain and pushed on.
That, along with better dance equipment and advanced medicine, is partly credited with keeping dancers performing longer. "A lot of times, dancers now are more vocal about 'I don't want to push myself into the ground,'" said Hohenstein.
Wednesday, April 24
Posted 24 April 2013 - 11:44 AM
Posted 24 April 2013 - 11:52 AM
For Mr. Martin’s students and ballet company members, having Ms. Lunkina in the studio for two days provided a rare opportunity. “They had exposure to a world class ballerina,” he said. “We have a lot of excellent dancers who have come through Princeton and either work or retire here, like Kyra Nichols from New York City Ballet and Kathleen Moore from American Ballet Theatre. But dancing is a very ephemeral thing. The students we have now don’t remember those dancers’ careers. But here is a 33-year-old ballerina from the Bolshoi, a huge celebrity. It’s so rare to have the chance to meet someone like this, go to dinner with them, talk to them. And in class, she imparted things that gave them a bit of a different perspective.”
Posted 24 April 2013 - 11:54 AM
He describes the ballet, based on the 1981 album "The Gospel According to the Meninblack", as a mix of "Frankenstein with Madame Butterfly" - although it is still very much a work in progress and could take years to complete.
"We are entering uncharted territory here. Can you be an old punk? But while the creative juices are flowing anything is possible," the 61-year-old said.
Posted 24 April 2013 - 11:55 AM
With the go-ahead from Rodney Gustafson at SSB, and official permission from the artist himself, [Peter] Pucci began sifting through Simon’s vast catalogue; he listened to more than 20 albums and read a number of books, eventually settling on 10 songs that felt right to him. Many of the works he chose date from the mid-1970s, shortly after Simon struck out on his own. Among those tracks are “Kodachrome,” “Loves Me Like a Rock,” and “Tenderness,” all from the 1973 album There Goes Rhymin’ Simon.
Posted 24 April 2013 - 11:57 AM
This full-length production, seen for the first time ever in Oklahoma City, was so much more than this reviewer expected. The lush scenery and costumes were courtesy of the Eugene Ballet Company, while staging was done by artistic director Robert Mills, Lisa Moon and Jacob Sparso after original choreography by Marius Petipa and Lev Ivanov.
Posted 24 April 2013 - 11:58 AM
Wheater said he "admires" Lubovitch's choreography and feels its dramatic and poignant touches are perfect for the theatrical and passion-fueled storyline.
The artistic director said this production of "Othello" is in keeping with the Joffrey's mission of delivering eclectic works to audiences.
Posted 24 April 2013 - 02:28 PM
Venezuelan-born Jose Navas was studying literature at university in Caracas in the 1980s when he saw Alonso dance Giselle. It is a performance he never forgot, though his career in dance had its own very personal arc, from training in Merce Cunningham technique in New York, through an acclaimed solo career and then the establishment of Compagnie Flak in 1995, a Montreal-based contemporary ensemble of a dozen or so dancers that exists to perform his work.
Posted 25 April 2013 - 10:53 AM
The United Arab Emirates in particular has no shortage of cultural offerings across a range of genres. “Swan Lake,” in May, will follow hard on the heels of two concerts by Justin Bieber, May 4 and May 5, and a set by the French D.J. David Guetta. The emirates also hosts artistic events like the Sharjah Biennial and contemporary dance shows by local artists.
Yet event organizers say that the inclusion of ballet is an important addition to the list of offerings, promoting cultural diversity, pushing boundaries in new ways and, not least, holding out the promise of good financial returns.
Posted 25 April 2013 - 10:58 AM
Six years ago, ballet dancer Meghan Loman played Princess Aurora in a production of “The Sleeping Beauty.” This weekend, she’ll perform the lead role one more time in her final performance with Springfield Ballet Co. before joining the professional dance company Carolina Ballet Theatre.
Posted 25 April 2013 - 10:59 AM
ASFB was founded in Aspen, Colo., in 1996 and opened a second home base four years later in Santa Fe, N.M. A central mission is the presentation of new choreography; its repertoire features 24 commissioned works.
Posted 25 April 2013 - 11:01 AM
Though a biennial public performance schedule may seem like slow-going, Engel said picking up the pace on the complicated choreography would be brutal for the children and parents alike.
"There was a time that there was a huge production every summer, in June," Engel said. "It tied up your summers and there was extra rehearsal time. You lived and breathed ballet all year long and a break in August and then you were back. I personally am very happy with this."
Posted 25 April 2013 - 11:10 AM
When it was clear the gala would have to be postponed, the Ballet put the word out to its patrons, and made arrangements to donate food prepared for the event to the Women’s Lunch Place. Hughson acknowledged his organization lost money by postponing, but he said that was trivial.
Posted 25 April 2013 - 11:14 AM
The Royal Ballet has had a shortage of women choreographers, on the main stage and even in the Draft Works series. This year’s programme was more balanced. McNally created two lucid new duets. She joins Hayley Forskitt for a witty café confrontation, full of snappy poses and drama queenery. Her duet for Forskitt and Nicol Edmonds is gentler, the dancers standing to listen or winding softly around each other.
Posted 14 May 2013 - 04:40 PM
But it’s not entirely uncommon for ballet companies to expand their relationship with whatever makes America unique, like Oregon Ballet Theatre does with its American Music Festival. With three impressive works, two of them world premieres, the show is exciting not only for the skill involved, but for its originality.
The scores are by Americans: Portland-born experimental composer Ryan Francis, opera minimalist John Adams and Seattle indie-folk band Fleet Foxes. But the choreography isn’t all homegrown. One piece is by a Swede, Pontus Lidberg—and it definitely feels Swedish.
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