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Friday, May 3


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#1 dirac

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Posted 03 May 2013 - 05:28 AM

The Mariinsky II theater opens.

Gergiev conducted at the opening, which included performances from Spanish tenor Placido Domingo, who sang Wagner, and the supreme Russian ballerina of modern times, Ulyana Lopatkina, who performed to Tchaikovsky.


The event kicks off a series of lavish events later in the week.


Related.

During the two-and-a-half-hour performance led by Valery Gergiev, the Mariinsky’s tireless artistic director, the present and future were arranged so they faced — and followed — the past. The virtuosic stage moved up, down, left and right, but the set was dominated by a replica of part of the old Mariinsky’s glamorous horseshoe auditorium. An enormous video screen offered a shifting display of lush backdrops from the theater’s glorious history.



#2 dirac

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Posted 03 May 2013 - 05:30 AM

A peek at Riccardo Tisci's costumes for the Paris Opera Ballet's new "Bolero."

The Italian designer, who is at the helm of French couture house Givenchy, created a flowing, nude tulle dress worn over a catsuit embellished with the human skeleton created from white lace. The unisex costumes were topped off with long black capes.



#3 dirac

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Posted 03 May 2013 - 05:36 AM

The Rising Star Dance Studio presents "Don Quixote."

Rising Star's director Fay Pansringarm has choreographed her own rendition based on the American Ballet Theatre's staging of the original Marius Petipa version.

She brings many years of experience as a ballet dancer, director and choreographer in New York City to her work in Bangkok and she incorporates the charm of younger dancers along with the powerful performances of professionals for the upcoming two-act ballet.



#4 dirac

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Posted 03 May 2013 - 05:38 AM

The Grand Rapids Junior Ballet Company presents "Peter Pan."

The Junior Company are all students of the Grand Rapids Ballet School, ages 10-19, who have auditioned to be a part of this performance group and committed to a more rigorous training and rehearsal schedule, presenting several productions each season.

In the past two seasons the Junior Company has worked with the Grand Rapids Symphony, Kalamazoo Symphony Orchestra, Frederik Meijer Gardens & Sculpture Park, and Helen DeVos Children’s Hospital.



#5 dirac

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Posted 03 May 2013 - 05:45 AM

A story on the scarcity of female leaders of ballet companies in the U.S. by Arianna Prothero for WRLN in Miami.

Both Vanderhoof and Lopez think one of the reasons might be because girls and boys have such different experiences during their training years. In the U.S., boys who want to do ballet are hard to come by.“I would say that in our advanced female class you’ll have 20,” said Lopez, “where the advanced male class you might have 7. And we have a big school.”

......Boys often receive hefty scholarships and special treatment in order to attract them to the profession, and many people in the field say that may give young men a sense of empowerment that their female counterparts don't get.



#6 dirac

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Posted 04 May 2013 - 04:42 PM

A review of New York City Ballet in a program devoted to the music of Richard Rodgers by Gia Kourlas in The New York Times.

Christopher Wheeldon’s “Carousel (A Dance),” more than a pick-me-up, is just as wonderful as ever. Concise and romantic with the right tinge of darkness, this 2002 work is Mr. Wheeldon’s dream ballet for the modern age. Tiler Peck, a wise innocent, and Andrew Veyette, with an edge of rebellion, are the focus: as if pulled by an invisible force, they draw toward and away from each other to create a landscape of fleeting touches, backward walks on point and exuberant lifts that crest along with the music.



#7 dirac

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Posted 04 May 2013 - 04:51 PM

A story on the new Encores! production of "On Your Toes" by Rebecca Milzoff in The New York Times.

By the time of the 1983 revival, though, Balanchine was ailing, according to Mr. Chapin, who worked on the production, and Peter Martins reconstructed much of the choreography. “Slaughter” is the only element capable of being reproduced exactly because of its place in New York City Ballet’s repertory. (Susan Pilarre, of the School of American Ballet, is staging it for Encores!)


New dances in “On Your Toes” have been created by the director and choreographer Warren Carlyle, an Encores! veteran who most recently choreographed a ballet for Act II of the New York Philharmonic’s concert performance of “Carousel.” Mr. Viertel said that Mr. Carlyle “has range above all else, and lots of ideas...."



#8 dirac

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Posted 06 May 2013 - 10:35 AM

A review of the San Francisco Ballet in 'Cinderella' by Janice Berman for The San Francisco Classical Voice.

Choreographically, you could not wish for more. The story is told entirely through the dancing. There’s no mime, although, as a row of motley characters assembles before Benjamin and Prince Guillaume to try on the golden slipper, there are delicious double-takes and slapstick. The ensemble dances, solo variations and pas de deux are light and quick; even when her Fates are on a break, Cinderella moves as if she’s floating on feathers.



#9 dirac

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Posted 06 May 2013 - 10:49 AM

A preview of Washington Ballet's "Hemingway: The Sun Also Rises" by Sarah Kaufman in The Washington Post. Photo gallery.

Webre and librettist Karen Zacarias boiled the story down to scenes with the most emotion and atmosphere, and the Left Bank bars figure heavily.


“I want Jake to have 12 drinks — literally — before Brett arrives,” Webre says.



#10 dirac

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Posted 06 May 2013 - 04:34 PM

A review of New York City Ballet in "Ivesiana" by Tobi Tobias in her blog, "Seeing Things."

The closing section, “In the Night,” gives us the full cast once again, walking unremittingly on its knees in the near dark to one side or the other of the stage, some exiting into the wings, some still “caught” mid-stage as the curtain falls. Unlike Who Cares? and Stars and Stripes, Ivesiana makes no effort to “entertain” its audience; it is there to make us recall our worst nightmares (asleep or awake) and to marvel at the fact that the most profound ideas and feelings can be expressed (often best expressed) without a single word.

The entire program was extraordinarily well danced.



#11 dirac

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Posted 14 May 2013 - 11:22 AM

An interview with Hee Seo.

Over the past few months Ms. Seo has worked hard to find peace within the high-pressure rank she now occupies. “I’m at the level of who I looked up to,” she said. “But I came to a conclusion that I’m in a process of becoming a better dancer — not exactly a principal dancer, but a better dancer and a better person.”

That outlook is helping Ms. Seo approach her performance schedule as calmly as possible. This season, which begins May 13, she reprises roles in ballets that suit her transcendently dramatic side — “Romeo and Juliet” and “Onegin” — and will also appear in “A Month in the Country,” Frederick Ashton’s 1976 reimagining of Turgenev’s play, as well as in the second dance of Alexei Ratmansky’s highly anticipated Shostakovich trilogy.




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