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dirac

Wednesday, June 5

7 posts in this topic

A review of Boston Ballet by Sarah Kaufman in The Washington Post. (Addedum: Natalia helpfully wrote in to point out that this piece reviews the Richmond Ballet and Oregon Ballet Theatre as well.)

The Boston Ballet capped opening night of the Kennedy Center’s Ballet Across America series with this work. It was not the most sparkling rendition of the ballet I’ve ever seen, though Lia Cirio and Lasha Khozashvili commanded attention in the central pas de deux. The Stravinsky score was forceful and precise; the corps, somewhat less so. But “Symphony in Three Movements” was never dull. It had a clean, modern, air-conditioned look and provided an emphatic example of how to give ballet a makeover and still retain its transcendence.
Edited by dirac
Corrected intro to link

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Two reviews of American Ballet Theatre

The New York Times

This “Corsaire” is superficial and frivolous about everything from its depiction of Muslims to ballet’s own potential as an art of music drama. In the poem, Medora is a desperate and melancholy heroine; her lover, the corsair/pirate hero, Conrad, is distraught near the end to find her corpse. In this ballet, she’s a playful coquette. When the bad guys, led by Conrad’s false friend Birbanto and the slave-dealing bazaar owner Lankendem, abduct her, she briefly turns serious and stabs Birbanto in the arm; but soon she’s merry again.

danceviewtimes

Yet if “Chamber Symphony” seemed grounded in the Soviet dramballet, “Piano Concerto #1” seemed to mark contemporary Russia’s encounter with the legacy of Balanchine and the formalist ballet of the west. In front a backdrop that looked like a huge abstract expressionist painting, Tsypin hung an installation of enameled Soviet baubles. Painted bright red and suspended low over the stage like so many mobiles were Red Stars, Soviet aircraft, hammers, sickles, nuts and bolts. It looked like the décor for a Soviet “Rubies” and this analogy was reinforced by the stripped down, red bathing suit costumes worn by two principal women, Natalia Osipova and Diana Vishneva....

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New York congresswoman Carolyn Maloney will play dead for American Ballet Theatre.

She got a second chance at her dream after joking with a longtime friend, ABT Board President Sharon Patrick, last year. Maloney said Patrick encouraged her to take on the role — and will join her on stage because the scene calls for two bodies.

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A review of New York City Ballet by Mary Cargill for danceviewtimes.

Teresa Reichlen and Chase Finlay, in his debut, were Liberty Bell and her Capitan. She is taller than he is when on point and some of the partnering was a bit tricky. Reichlen toned down the mugging, and let her legs do the talking, which they did with crystaline elegance. Finlay, too, avoided some of the showboating, and didn't exaggerate the flatfooted jumps--his feet apparently are made for pointing. He seemed to run out of steam a bit at the end, and the final melange wasn't as crisp or as fast as some dancers. But though on a purely technical level, I have seen better danced "Stars and Stripes" the verve and joy of all the dancers (the men's corp, led by Troy Schumacher, were especially vivid) brought all the Petipa ghosts alive.

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A clip of Sarasota Ballet in 'Les Patineurs.'

Dancers from the Florida-based ballet compnay perform Sir Frederick Ashton’s “Les Patineurs,” a program they will perform during the Kennedy Center’s Ballet Across America III.

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A record haul for this year's School of American Ballet Workshop Performance Benefit show.

Marking Peter Martin’s and Kay Mazzo’s 30th anniversary at SAB (both former New York City Ballet principal dancers under Balanchine), the benefit raised $820,000, which was “a record for this event,” said Marjorie Van Dercook, SAB executive director. That’s almost 6% of the school’s annual operating budget.

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Kansas City Ballet needs a new pair(s) of shoes, hopes to raise $100.000.

For dancers at the Kansas City Ballet, shoes are the connection between the performer and the stage – a very expensive connection.

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