7 replies to this topic

[dirac]

Two stories on the Metropolitan Opera's plan to disband its ballet troupe.

The Los Angeles Times

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There's disagreement on whether the ballet, which has been associated with the Met since its inception in 1883, will be forever defunct.

Associated Press

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But Met General Manager Peter Gelb described the ballet company as defunct. He said rather than use a resident company, the Met will hire dancers per production.

[dirac]

A review of Boston Ballet's "Coppelia" by Katrina Lallier for Metro.

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It is a delight to watch Breen Combes dance. She possesses a natural proclivity for storytelling through dance, as is evident in the spunky, playful way she brings Swanhilde/Coppélia to life. This talent was first brought to the stage in her breakout role as one of the stepsisters in “Cinderella” (2008). Her energy is contagious.....

[dirac]

The Goh Ballet may lose its current "Nutcracker" venue.

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The venue, the Centre for the Performing Arts, is being sold to the Westside Church. Because of the sale, the ballet's contract has been canceled.

Executive director Chan Hon Goh hopes the new owners agree to continue hosting the performance because she says it's the ideal stage for the show.

[dirac]

The Pittsburgh Ballet Theatre enters the final stages of its real estate expansion.

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The new parking lot and the building of an annex with three new studio spaces will complete the expansion.

[dirac]

The CW begins releasing previews for the new season of "Breaking Pointe."

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Breaking Pointe returns with new episodes on Monday, July 29 at 9:00 p.m. ET/PT on The CW.

[dirac]

Talking pointe shoes with Mara Galeazzi.

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How painful is it to dance on pointe?
For me, if I do a classical ballet – yes, my toes hurt, because it’s much harder. But if the ballet is [a modern one where] I go on and off the pointe shoes, then it’s less painful.

[dirac]

A review of the West Australian Ballet in "La Sylphide" by Rita Clarke in The Australian.

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Widdison-Jacobs was stunning, expressing the round, soft-armed gestures and open fingers required and sublimely elegant en pointe. She exudes an alluring freshness, the only hiccup the beginning of her dying scene with James clinging rather messily around her middle. As James, Sergey Pevnev gave a sterling interpretation, relying on his technical prowess, his impressive leaps and twirls (a bit wobbly on landing once or twice) and as convincing acting as mime allows you. Yu Takayama, the wronged bride, was bewitching and sensibly pragmatic, marrying James's rival (Matthew Lehmann) in a trice when James takes off after the Sylph. The witch, Madge, is pantomime's dream and Craig Lord-Sole gave it his all, hubbling and bubbling around the cauldron, cursing James to high dudgeon.

[dirac]

A review of New York City Ballet and Hubbard Street Dance Chicago by Robert Gottlieb in The New York Observer.

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  .......What’s so remarkable about the piece is the superb sense of structure: The principles, the four couples, come and go in a rapid and inevitable flow, everything exhilarating and natural, everything stimulating, in contrast to the febrile hokeyness of Fearful Symmetries. Hallelujah Junction is Martins’ finest ballet, and why it isn’t in the repertory of more companies is one of the great mysteries. But the greatest mystery—the sad mystery—is why, if he could make this good a piece, he hasn’t made more on its level. Like Marlon Brando in On the Waterfront, he coulda been a contender.