Ania Ruiz Diaz, Victor Santana, Randy Crespo, Arianni Martin, Edward Morgado, Josue Justice and Analay Saiz will take part in The Best of the Classical Repertoire gala at The Fillmore Miami Beach at Jackie Gleason Theater, the Cuban Classical Ballet of Miami announced Friday.
Monday, May 20
Posted 20 May 2013 - 09:21 AM
Posted 20 May 2013 - 09:24 AM
As someone who has only been to two other ballets in their life, I cannot claim to know the detailed ins and outs of form and precision.
But as your every day audience member, keen to be entertained and dazzled, this ballet definitely achieved that.
Posted 20 May 2013 - 09:26 AM
But Sleeping Beauty in Mallek’s hands and those of his own home-grown ballet mistress Emily Hufton, shows the fruits of ever-lengthening experience and assurance from 33 years of the company. There are subtle touches and extra details in the dramatisation and characterisation, the miming is more obvious, and with this, the prettiest of the three Tchaikowsky classics, gives the VFB’s usually superior touring wardrobe its chance to give the way it looks the full-value in florin and ducat.
Posted 20 May 2013 - 09:29 AM
Translating the ballet to film — particularly Act II, which takes place in the moonlit glade near Giselle's grave — is a little more complex.
While the camera allows glimpses of what one would never see without the use of opera glasses in a theater, the consistent zeroing in on a particular dancer or element detracted from the power of the whole. When, as a viewer, you become conscious of wanting to operate the camera yourself, you know it's become more of a hindrance than an asset.
Posted 20 May 2013 - 09:33 AM
Also showcased are Ballet Manila (BM), the Philippine Ballet Theater (PBT), and international guest artists Mayo Arii of Hamburg Ballet, Jennifer Drake and Brian Williamson of Dance Theater of Tennessee and Mauro Villanueva of Joffrey Ballet.
Christopher Mohnani, former principal dancer of BM and the Nashville Ballet, is coming as artistic director of his own ballet company Dance Theatre of Tennessee.
Posted 20 May 2013 - 09:37 AM
A veteran of Balanchine's NYCB creations, Marisa's critical eye is more lethal than lenient, but in this case, no less enthusiastic. "Michael's capturing [Balanchine]'s essence clearly," she explains. "That proud look down his nose, his little sniffing, the blinking and twitches — those are things only people who knew him would look for, but they're there." And the all-important hands, a ballet make-or-break? "Suki Schorer, one of the keepers of Balanchine's technique, taught me...and now Michael. She says Michael has beautiful hands."
Posted 20 May 2013 - 02:57 PM
Interestingly, she probably has a higher rating for good looks than any—except, perhaps, for Julie Kent—of the illustrious ballerinas who have danced with the company in, say, the last decade. This just proves, once again, that in ballet good looks—Dvorovenko is a handsome woman with a statuesque figure—go just so far. She’s best known for her performances in classical ballets and, in the course of her career, has earned her share of medals in that arena. I’ve always wondered why she never extended her repertoire very far or very often past those touchstones? Did she never yearn to do more contemporary works? Or did ABT consider her unsuitable to them?
Posted 20 May 2013 - 03:02 PM
If seeing a ballet can change your life, then The Four Temperaments changed mine. In the fall of 1987 I saw a PBS documentary about Balanchine that contained excerpts from several of his ballets, including a lengthy sequence from "Melancholic," the second section of The Four Temperaments. I was so fascinated by it--as I had already been fascinated by what Arlene Croce wrote about Balanchine in her New Yorker dance reviews--that I resolved to see for myself what his works looked like in the theater.
Posted 20 May 2013 - 03:05 PM
The American Guild of Musical Artists, which represents the dancers, said the packages, provided for under the union’s current contract with the Met, include $75,000 in severance and two additional years under the opera company’s health and dental care plan. But in contrast to the Met, the guild asserted that the ballet corps might still have a future.
Posted 20 May 2013 - 03:09 PM
I've never been a fan of amateur companies tackling full-length story ballets, even less when they serve as year-end recitals. In general, their scope and length, and the technical prowess they require, are best left to professionals.
Yet after seeing Next Generation Ballet's performance of Peter Stark's "Cinderella" at the Straz Center last weekend — which follows NGB's production of "Swan Lake" last year — I'm willing to begrudgingly concede that, given the right talent, training and direction, such an undertaking can provide good entertainment, if not flawless execution.
Posted 21 May 2013 - 04:45 AM
John Cranko's Onegin was recently presented by American Ballet Theatre. As I expected, the reviews weren't great. It seems Cranko never commands much respect over here. The reviews all describe the work in the same way: empty, boring, sleep-inducing. But I don't agree. Sure, the ballet could be shortened, but aren't there many ballets like that? One thing it does offer: wonderful acting parts for dancers.
Posted 21 May 2013 - 04:48 AM
Now, the program is a daily presence at the ballet, at every performance and when it goes on tour. Exercise equipment has been installed at the ballet's headquarters and the scope of counseling has expanded to nutrition and other health-conscious concerns.
When the ballet's artistic director, Terrence Orr, was a principal dancer with American Ballet Theatre 30 years ago, he says, “We didn't have a physical therapist and didn't get taken care of. UPMC is just phenomenal. What they do for us is unprecedented across the country for a company of our size.”
Posted 21 May 2013 - 05:30 PM
This classic story with its powerfully intimate yet universal human themes has been lovingly set by guest staging director Dinna Bjorn, proving that some tales never tire - rather they carry us to another place. One full of mystery, magic and profound beauty.
Posted 22 May 2013 - 01:52 PM
The title role has been called “the ballerina’s Hamlet” and is regarded as one of the most difficult in ballet because of the intensely dramatic nature of the role, as well as the physical stamina required to dance the lead throughout the full-length production.
Providing a vivid contrast to “Giselle’s” Romantic-era style and sensibility will be the company’s presentation of contemporary works by two of Canada’s most talented choreographers, Kudelka and Pite.
0 user(s) are reading this topic
0 members, 0 guests, 0 anonymous users
Help support Ballet Alert! and Ballet Talk for Dancers year round by using this search box for your amazon.com purchases (adblockers may block display):