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Sunday, May 12


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#1 Mme. Hermine

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Posted 13 May 2013 - 02:35 AM

Laura Bleiberg reviews Los Angeles Ballet in a Balanchine triple bill:

http://www.latimes.c...0,1004477.story

Los Angeles Ballet’s Balanchine Festival continues with three stirring modern masterworks, two of which highlight the brilliant outputs of double giants of the last century.

That duo would be George Balanchine, co-founder of New York City Ballet, and composer Igor Stravinsky, who forged a friendship and working relationship based on mutual admiration. Their rare collaborations of new dance to new score netted breakthrough ballets, an organic meeting of genius.



#2 Mme. Hermine

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Posted 13 May 2013 - 02:42 AM

Alastair Macaulay reviews Washington Ballet's The Sun Also Rises:

http://www.nytimes.c...allet.html?_r=0

The very idea of a ballet adaptation of Ernest Hemingway’s novel “The Sun Also Rises” ought to invite snickers. I confess that I was looking forward in cynical spirit to solemn ballet mime grandly indicating Jake’s erectile dysfunction — not to mention the war wound that caused it — and, of course, a frisky dance version of the running of the bulls at Pamplona. Yet there was no derision in evidence on Thursday night, when the Washington Ballet gave the world premiere of Septime Webre’s two-act staging at the Kennedy Center’s Eisenhower Theater.



#3 dirac

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Posted 13 May 2013 - 10:53 AM

A review of New York City Ballet's gala by Michael Popkin for danceviewtimes.

This very early ballet showed Wheeldon’s genius flowing pure at the source. What’s inventive and contemporary here is arrived at by simplification and not complication. In the opening waltz, Taylor Stanley supports Brittany Pollack in an arabesque. When she picks up her supporting leg and touches it to the knee of the horizontally extended working leg, and he simultaneously alters his support of her at the waist, the arabesque instantly becomes a retiré pose in the air. Nothing more has to be done, it’s accomplished with a single move, beautiful, inventive, quiet, lyrical and, above all, totally simple. By the time Wheeldon got to “Polyphonia” a few years later he was twisting things.




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