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Thursday, June 20

19 posts in this topic

Sergei Filin's eyesight is said to be deteriorating.

At a news conference dedicated to the theatre's 2013-2014 season program, Filin's absence was palpable as he prepared to undergo what Bolshoi spokeswoman Katerina Novikova said would be his 19th operation at a clinic in Germany to save his eyesight.

Related.

A spokeswoman for the Bolshoi said yesterday: “He is now blind in his right eye. The problem is that it is acid and it continues to cause damage. He has had 18 operations and I understand that some of them were very difficult.”

Related.

Sergei Filin, 42, was left with severe burns to his eyes and face when a masked attacker threw a jar of sulphuric acid in his face as he was returning home late on January 17.

He flew to Germany from Moscow for treatment in March, but despite initial optimistic reports, he has now lost 95 per cent of his vision and is totally blind in his right eye.

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The fortieth anniversary of Karen Kain and Frank Augustyn's successful appearance at the Moscow International Ballet Competition is celebrated.

Augustyn, now chair of the dance department at Adelphi University in Garden City, N.Y., has a long association with the ballet community in Cambridge, Ont. Kain, after a long career as a ballerina, is now artistic director of the National Ballet of Canada.

With their busy lives, Kain and Augustyn, for a decade and more Canada’s most celebrated ballet partnership, popularly dubbed “The Gold-Dust Twins,” don’t see too much of each other these days but were reunited to reminisce about their Moscow experience of June 1973.

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New York City Ballet's next gala will be fashion-forward.

New York City Ballet will hold its annual fall gala celebrating dance and fashion on Sept. 19, featuring three world premieres, the company announced Thursday. Participants this year include the choreographers Benjamin Millepied, working with the Dutch designer Iris van Herpen; Justin Peck, whose new ballet will showcase costumes by Prabal Gurung; and Angelin Preljocaj, working with Olivier Theyskens.

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Two pregnancies force Atlantic Ballet Theatre of Canada to cancel its summer production.

"I'm so happy you're pregnant, it's new life for you, but like choreographer and artistic director — I'm losing my muse," Dobrovolskiy said.

He says when a second dancer announced she was also pregnant, he knew there was no way his eight-member company could mount the production without two of its dancers.

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Obituaries for David Wall.

The New York Times

Mr. Wall was leading-man material in every way, bringing a virile charm to the principal male roles of “Swan Lake” and Ashton’s “Fille Mal Gardée” and “Two Pigeons,” among other works. His jump was splendid and his dramatic force unswerving as he brought an emotional vividness to many classic ballets. Within moments of his first entrance as the prince — be it in “The Sleeping Beauty” or “Cinderella” — he established the poignant need for romantic fulfillment that the ballerina in due course would fill.

The Telegraph

With chiselled, dramatic features setting off his fiery locks, he was certainly “easy on the eye”, as the leading critic Richard Buckle once noted, and his masculine power, as well his natural amiability and splendid classical technique, made him the darling of most of the era’s ballerinas, including Margot Fonteyn. At a performance they gave together in Hong Kong at the end of her career, she declared to the reception afterwards that Wall had been her “favourite” partner of her career, she felt so at ease with him.

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BalletX holds its annual fundraiser. Photo gallery.

Special guest, choreographer Nicolo Fonte, spoke about his upcoming world premiere ballet, Beautiful Decay, for BalletX’s Summer Series, July 10-14 at The Wilma Theater. Additionally, co-artistic directors Christine Cox and Matthew Neenan spoke about the series of performances in the 2013/2014 season.

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Gerald Eldred, former head of the National Ballet of Canada and the National Ballet School, has died at age 78.

In 1973, he was appointed general director of the National Ballet of Canada, a position he held through 1979. During his time there, he helped to increase the company’s budget to $6 million from $2 million, which also helped to decrease the company’s deficit. Artistically, his leadership helped oversee the company’s season being extended from 36 to 48 weeks.

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Interview/profiles in brief of New York City Ballet's new principals, Adrian Danchig- Waring, Chase Finlay, and Ask la Cour by Marina Harss for Playbill.

.....It wasn’t until later, as an adolescent, that Danchig-Waring began to embrace the rigor and focus of ballet. After studying with a local teacher, David Roxander (a former dancer with the National Ballet of Canada), he came to the School of American Ballet, where he felt an instant affinity for the musicality and logic of the Balanchine style. Since joining the Company in 2002, he has developed a strong bond with the choreographer Christopher Wheeldon: “Chris has been a huge mentor,” he says, “he saw qualities in me that I hadn’t yet learned to cultivate.”....

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A review of the National Ballet of Canada by Michael Crabb in The Toronto Star.

And then there’s The Man in Black, James Kudelka’s choreographic response to six late-career Johnny Cash covers of such wistfully melancholic yet gritty songs as Ian Tyson’s “Four Strong Winds” and Gordon Lightfoot’s “If You Could Read My Mind.”

Only such a master of his craft as Kudelka could draw from the vernacular of American country-western dance styles to create a work so inventive, so alert to the music and their lyrics, and so deeply moving. It’s a dance you could see time and again, knowing you’d discover some new layer at every viewing.

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An interview with Dylan Tedaldi. Video.

Having just finished the run of Carmen with the National Ballet of Canada, Tedaldi is already preparing for his next performance.

“Overcoming ballet’s many technical challenges is hard enough, but you also have to deal with body aches and pulled muscles,” Tedaldi said. “I’ve learned to really listen to my body and give it the care that it needs.”

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The Bolshoi Theater announces its new season.

"We are not paying attention to what's happening around," Anatoly Iksanov, the theatre's longtime general director, told the Guardian. "We're in the active process of working in the theatre, of opening premieres – that says more about the health of the troupe. In fact, I would say that [the scandals] have brought us closer together."

Not all would agree. On Tuesday the opera star Anna Netrebko became the latest voice to criticise the theatre's degradation.
Everyone there needs to be fired and everything needs to be changed, from head to toe," she said.

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A review of the Birmingham Royal Ballet in 'Giselle' by Alan Poole in The Coventry Telegraph.

Hayden Griffin’s admirable sets are enhanced by a real-life horse (the impeccably well-behaved Crystal) and as convincing an artificial waterfall as has ever been conjured up on stage. And with the Royal Ballet Sinfonia, conducted by Koen Kessels, in majestic form, this is truly a definitive performance of an enduring favourite.

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A review of the English National Ballet in "Swan Lake" by Louise Levene in The Telegraph.

Critics spoiled rotten by a life of perfect sightlines in the front stalls found the encircling audience distracting and carped that the sheer size of the Albert Hall made it impossible for the artists to convey emotion. Anyone who has watched their idols from the back row of Covent Garden’s amphitheatre through a forest of craning heads will know that this is nonsense.

Deane’s ballet is more than just a regrettable device for cross-subsidising unmarketable mixed bills; it is a fine work in its own right....

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Jose Manuel Carreno is the new artistic director of San Jose Ballet.

Carreno takes over the creative direction of a company that has gone through a rough period financially and internally in recent years, including the 2012 departure of longtime artistic director Dennis Nahat and a restructuring of the ballet's board. Last season, Ballet San Jose -- which had formed a partnership with American Ballet Theatre to provide support for its production -- moved away from the classical works favored by Nahat to the mix of contemporary and classic that included a number of world and company premieres by such choreographers as Jerome Robbins, Sir Frederick Ashton and Jessica Lang. It also staged a fresh version of "The Nutcracker" with new choreography by company dancer Karen Gabay.

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Statistics suggest that more Australian boys are participating in ballet and other forms of dance.

Australian Ballet education director Helen Cameron said films and TV shows about dance, along with dance education programs, had increased the number of boys dancing. "Dance provides scope for development of physical skills, versatility and fitness that complements the energy young men seek and enjoy," she said.

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A feature on the Australian Dance Theatre by Nina Levy in The West Australian.

"That interest, within the broader culture of the time, in women and madness, and the idea that madness in women could be caused by emotional trauma, mainly in relationship to men - that being jilted by a man was enough to send a woman over the edge into madness - that was the cultural subtext for Giselle."

It's that subtext - the 19th century obsession with madness - that's the starting point for[Garry] Stewart's contemporary reconstruction of Giselle. And reconstructed it certainly is.

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Kim Brandstrup talks about his new ballet for the Aldeburgh Festival. Video.

So when he was looking for music for his ballet, co-commissioned by DanceEast, he turned his attention to the start of the composer’s career to create a piece that also powerfully evokes his childhood and – in particular – the death of his mother. Variations on a Theme of Frank Bridge was in fact written in 1937, the year Britten’s mother died. It was his first major success and has a richness, and depth missing from his earlier works.

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Jose Manuel Carreno's new job at San Jose Ballet will not immediately affect his involvement in the Carreno Dance Festival, says co-founder Robert De Warren.

De Warren, co-producer of the CDF and president of its nonprofit umbrella organization, the Sarasota International Dance Festival, said Thursday Carreño’s appointment would not perceptibly change the festival nor his partner’s involvement.

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Questions are raised over the executive director of Manassas Ballet Theatre's vote to authorize funds for the ballet as a member of the city council.

Wolfe said in an interview that because all the arts funding was combined in one package, he could not choose to recuse himself solely from the decision on the ballet. In the past, council members considered arts funding line by line, and he did choose not to vote when funding for the organization was considered, he said.

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