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dirac

Wednesday, June 26

9 posts in this topic

Government funding cuts to UK arts organizations not as bad as feared. Reaction from Mark Skipper of Northern Ballet.

Morts companies like Northern Ballet now have to go through the process of applying to Arts Council England for a chunk of the reduced pot of money for 2015 onwards.

Skipper admitted he does not want a repeat of last time when they were salami-sliced by 15%, along with all the other – much better financed, Northern Ballet point out – ballet and opera companies.

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Judith Mackrell asks readers which ballet dancers of the past they'd most like to see.

I envy those who saw Nureyev at the peak of his physical powers – but then that's the price of being addicted to an art form as transient as dance. I have a long list of others I'd time-travel back to see. Who would be on yours? And why?

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American Ballet Theatre announces its 2013-14 season.

“The Tempest,” which features sets and costumes by Santo Loquasto and has the Tony Award-winning director Mark Lamos as its dramaturge, will be performed five times during the fall season, beginning with an opening night gala benefit on Oct. 30. The music for Mr. Ratmansky’s “Tempest” was written by the Finnish composer Jean Sibelius for a 1926 production and originally consisted of 35 pieces, lasting one hour.

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A preview of the celebrations in honor of Alicia Alonso in South Africa this weekend.

Some of the acclaimed companies they represent include the Shanghai Ballet, the Stuttgart Ballet, the Washington Ballet and Alonso’s own company, the National Ballet of Cuba. Representing South Africa are dancers from the SA Mzansi Ballet; Burnise Silvius, Michael Revie, Shannon Glover, Jonathan Rodrigues, Luis de Castro, Randol Figueredo, Javier Monier and Ramiro Samón.

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The Joffrey Ballet has a new executive director. Item in brief.

[Greg] Cameron currently serves as board chairman of The Renaissance Society at the University of Chicago.

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Ballet Arkansas seeks to raise funds for a new studio.

Standing in what might become a 1,500-SF rehearsal studio, members of the professional dance company discussed plans to move into the Arkansas Building at the corner of Sixth and Main streets. The organization has filed a letter of intent, and $175,000 of the funds being raised are earmarked for a five-year lease. The remaining $25,000 is for moving costs and renovations.

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A review of the National Gallery of Art's exhibit, "Diaghilev and the Ballets Russes, 1909-1929: When Art Danced with Music," by Michael Coleman for The Washington Diplomat.

The National Gallery exhibition is heavy on costumes, which reveal a Herculean amount of work and exquisite attention to detail. Classically Russian, the costumes often employ conical designs, but their stolid patterns and bright mix-and-match colors sometimes evoke images of ceremonial Native American dress. "Costume of a Seahorse" is particularly visual, as layers upon layers of intricately woven cloths produce shimmering golds, tans, burgundies, yellows and reds that blend seamlessly. It's hard to imagine a modern-day tailor producing anything more exquisite.

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A review of American Ballet Theatre in "Sylvia" by Leigh Witchel in The New York Post.

lThough Delibes’ luscious score is full of tunes, “Sylvia” has an obscure plot with little dramatic tension, so the ballet stands or falls on the dancing.

Ashton helps by filling the stage with beautifully crafted numbers for the corps in homage to the great 19th-century ballets.

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New Orleans Ballet Theatre celebrates its tenth anniversary this weekend.

The good news is equally evident in the roster for the 2013 summer season. This year, the troupe welcomes the return of four, star dancers from the Miami Ballet, and showcases a trio of New Orleans dancers with connections to Kansas City Ballet, Stuttgart Ballet and Alvin Ailey American Dance Theater.

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