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Wednesday, May 1


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#1 dirac

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Posted 01 May 2013 - 11:52 AM

A review of New Jersey Ballet's "Don Quixote" by Robert Johnson in The Star-Ledger.

This evening-length work is filled with opportunities for bravura display. The centerpieces include an elaborate dream ballet and the divertissement that follows Kitri’s wedding to Basilio; while Act One is enlivened by cape-swirling toreadors and the needle-sharp pointes of the Street Dancer weaving through an obstacle course of tankards set on the floor. New Jersey Ballet’s staging by Albert Davydov has additional features usually seen only when companies tour from Russia—the Prologue set in Don Quixote’s study and the tavern scene that choreographer Kasyan Goleizovsky added in the 1940s.



#2 dirac

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Posted 01 May 2013 - 11:57 AM

A brief story on Pittsburgh Ballet Theatre's plans for an autism-friendly performance of 'The Nutcracker.'

New Jersey Ballet has staged an autism friendly adaptation of "Pinocchio," but no U.S. ballet company to date has applied this approach to "The Nutcracker."



#3 dirac

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Posted 01 May 2013 - 11:59 AM

Questionnaire with William Whitener.

Favorite place to spend your paycheck: In the bank

What local phenomenon do you think is overrated? Texting



#4 dirac

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Posted 01 May 2013 - 12:01 PM

A preview of Boston Ballet's new mixed bill by Jed Gottlieb in The Boston Herald.

Building a bridge from traditional fans to young audience members, “Chroma” is bookended by two well known works by George Balanchine, “Serenade” and “Symphony in C.” Even surrounded by the Balanchine works, the Boston Ballet knows “Chroma” is a challenge.



#5 dirac

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Posted 02 May 2013 - 01:05 PM

Reviews of New York City Ballet's spring gala.

The New York Times

America is a large country, but it looked larger yet on Tuesday night on the stage at New York City Ballet. Its spring season is dedicated to American music, and its opening night presented successive visions of this country that were all enthralling and extraordinary. By turns charming, shamelessly exuberant, romantic, enigmatic, bright and dark: a spectrum of views emerged during the course of four ballets, all of which were choreographed by George Balanchine between 1954 and 1970. Few ballets made in subsequent years have proved so unusual and compelling.


The New York Post

Ashley Bouder and Andrew Veyette have done “Stars and Stripes,” Balanchine’s war horse to Sousa marches, for so long — since ballet school, more than a decade ago — that they’ve gotten restless. They threw caution to the wind and hammed it up, mixing risk and parody. She milked every balance and played patty-cake as she took his hand. He did Benny Hill salutes with a mischievous smile, and who knows how he saved some of the crazy turns or jumps he tried.


The Financial Times

......By the next section, The Unanswered Question, the woman, now magnetic Janie Taylor, had become a female manifestation of the dark itself, looming over a man (Anthony Huxley) who blindly sought her. Imagine a sequel to Serenade in which the sacrificial maiden returns as a ghost, somersaulting backwards from her airborne throne to skim along the ground like a blind winged goddess. It sounds ridiculous, but in her slow motion and sudden weighted falls Taylor was mesmerising.



#6 dirac

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Posted 02 May 2013 - 01:07 PM

Sarah Jessica Parker is interviewed about her new digital series, "City Ballet."

As for her passion project, Sarah, who was a dancer herself, explained how she came to doing “City Ballet.” “When I joined the board of the New York City Ballet, I started to wonder what might be my role on the board and how could I be helpful. I realized it was about the next generation, the next group of young people who are going to make the ballet a part of their lives. I had an idea, a docu-series about them, might be interesting.”



#7 dirac

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Posted 02 May 2013 - 01:11 PM

Celia Fushille talks about Smuin Ballet's new program and seeking new dances for the company.

Fushille looks for diversity, but also pieces that will complement one another. "I like to find balance," she says. "I feel happy when people might like two of the three. Just like going into a museum, you may not like all of the paintings equally. But I like to have three different pieces that will engage my dancers, as well as the audience...."



#8 dirac

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Posted 02 May 2013 - 02:58 PM

A story on the Mariinsky II theater, opening this week.

The straightforward glass-and-limestone theater has been described as too modern and not modern enough, too ambitious and too restrained. A walk around it reveals a structure as anonymous as the average new hotel or convention center, with the odd bit of pastel yellow ersatz neo-Classical detail tacked on to the side facing the canal and the old Mariinsky.

“Honestly, people don’t like this building,” said Galina Logutenko, a deputy director of the storied St. Petersburg Philharmonic, which plays at the Shostakovich Philharmonic Hall. “But the main thing is what will be inside, not out.”



#9 dirac

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Posted 03 May 2013 - 05:47 AM

A photo gallery of Alonzo King's LINES Ballet.

For years, King has also collaborated with talented photographers like RJ Muna and Marty Sohl to bring a trademark beauty to each season of LINES Ballet imagery, using dramatic lighting and flowing costumes (or no costumes at all) to emphasize the muscled lines of the dancers’ forms.



#10 dirac

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Posted 06 May 2013 - 10:55 AM

Q&A with Brandon Koepsell of the Macomb Ballet Company.

Q: You choreograph and teach as well, including partnering skills. What’s the hardest thing for a young male dancer to learn about partnering?

A: The most difficult thing is timing. There’s a misconception that you have to be big and strong. You need strength for lifts, but it’s timing. You have be prepared for what (the ballerina) is going to do, you have to correct her mistakes. I have never dropped a girl!



#11 dirac

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Posted 08 May 2013 - 05:03 PM

Two reviews of "Nijinsky" by Lucy Moore.

The Guardian

What she writes about with angry unsentimentality is the absurd waste of Nijinsky's post-Rite existence, from the parody of a romcom meet-cute aboard the liner bound for Buenos Aires to his final performance in a Swiss hotel in 1919, in which he danced his own disintegration, and that of the world at war: the spirit of the rose reduced to a still spectre, hallucinating blood in the snowy woods.....


The Telegraph

The first half of Nijinsky’s private, romantic life and his mesmerising stage presence take up eight chapters of Moore’s biography – the second half only one, as Moore illustrates in moving detail how schizophrenia overtook Nijinsky at terrifying speed. Extracts from his own diary reveal an intermittent but heartbreaking awareness that he was hovering on the brink of madness.




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