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dirac

Friday, June 28

13 posts in this topic

Two stories on the death of Juan Carlos Amy-Cordero.

The Register-Guard

A native of Boston, Amy-Cordero danced with Boston Ballet from 1999 to 2001 and had studied with the Boston Ballet School and the San Francisco Ballet School.

He danced with Eugene Ballet in more than 50 ballets, performing in more than 55 cities on tour.

Broadway World

According to reports, Amy-Cordero's wife couldn't reach him when she was traveling. A friend checked in on him and found a suicide note on the door.

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Q&A with Andris Liepa.

Q. After graduation, you worked your way up in the Bolshoi from corps to soloist to principal. What was it like dancing in the Bolshoi then?What were some of your favorite roles?

A. I danced in the corps for about four years, doing all the corps de ballet parts, which was great preparation for the future. It was a wonderful way of learning an entire ballet. I performed two roles in Ivan the Terrible, then the leading role. I knew the whole performance from the inside out, so it was a great help. I think one of my first principal roles was the Prince in Nutcracker, and I loved to do Albrecht in Giselle, which is my favorite role, one of the reasons being that my father taught it to me. I partnered Galina Stepanenko, a really great dancer, one of the best of her generation.

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An obituary for arts patron and administrator Robert Wepman, who has died at age 72.

Bob Wepman in 1973 became the first business manager of the Grand Rapids Symphony and later served as music director of Grand Rapids Civic Theatre among other roles.

Wepman frequently described Grand Rapids as ‘Podunk,’ but he loved the city with a passion, recalled Estner, who, together with his wife, Charthel Arthur, were recruited in 1983 from The Joffrey Ballet in New York City by Wepman to come to Grand Rapids to start a year-round school of dance.

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The Dance Council of North Texas announces its honorees for 2013.

Ann Etgen and Bill Atkinson – Mary Bywaters Award for Lifetime Contribution to Dance

The husband-and-wife team of Bill Atkinson and Ann Etgen is truly a Dallas institution. Each had extensive professional ballet careers in New York, Canada, and South America before coming to Dallas. Etgen was a member of the New York Metropolitan Ballet Company and Atkinson has performed with the Royal Winnipeg Ballet and the Ballet AAA. In addition to maintaining the Etgen-Atkinson Ballet School and directing the Dallas Metropolitan Ballet, Etgen has also served on the Dance Panel of Texas Commission on the Arts and Humanities and both have held offices in Regional Dance America/Southwest (RDA/SW). Their dancers have joined the ranks of many professional ballet companies, including the New York City Ballet, Joffrey Ballet, American Ballet Theatre, Boston Ballet, Berlin Ballet, Frankfurt Ballet, Ballet Wallonie of Belgium, Hamburg Ballet, Stuttgart Ballet and others.

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The History Channel posts a video clip of Mikhail Baryshnikov in 1974.

Rare footage of the one who is often called the world's greatest living male ballet dancer. In this "History Uncut" video clip, Baryshnikov practices in a studio in Toronto after recently defecting from Russia. A short press conference follows.

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An overview of American Ballet Theatre's run in "Sylvia" by Alastair Macaulay in The New York Times.

Ms. Herrera, an experienced and happy Sylvia, played with the music in the forest scene better than any recent ballerina on this side of the Atlantic, drawing out phrases in the air as if teasing them; only the Royal Ballet’s Marianela Nuñez surpasses her in this respect. By the time of the tough pizzicato solo, however, Ms. Herrera was flagging. Jared Matthews partnered her well, even though he plays the role with too many conventional smiles and flourishes.

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A review of "A Dancer's Dream" by Anthony Tommasini in The New York Times.

Still, Mr. Fitch’s approach becomes diffuse, whereas the original Andersen tale is grim and rich. In a short entr’acte after intermission, the pianists Eric Huebner and Steve Beck play excerpts from “Neige” (“Snow”), a sardonic, bristling four-handed piano suite from 1918 by the French composer Louis Durey. Mr. Fitch turns it into a dance to show Ms. Mearns completing her transformation into a ballerina. By the end she is costumed as Columbine, ready for her role in “Petrushka.” I can see why Mr. Fitch’s concept needed this transition, but the piece seems awkwardly inserted into the program.

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A review of "A Dancer's Dream" by Leigh Witchel in The New York Post.

With all the other hoopla, dancing plays second fiddle. Mearns and fellow NYCB member Amar Ramasar are limited by the shallow space. Choreographer Karole Armitage doesn’t give Mearns much more than standard ballerina moves as she travels to and fro. Ramasar fares better; he gets to show off his charm and charisma, but also tight, clean air turns.

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Grand Rapids Ballet Company extends the contracts of artistic director Patricia Barker and executive director Glenn Del Vecchio.

Under Barker’s leadership, Grand Rapids Ballet has presented work by such nationally and internationally known choreographers as José Limón, George Balanchine, Paul Taylor, Twyla Tharp, Gerald Arpino, and Mario Radacovsky.

The programming formula has grown season ticket subscribers, single ticket sales and individual donors, officials said.

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A review of the Birmingham Royal Ballet in "Giselle" by Neil Norman for The Daily Express.

David Bintley's version for BRB (premiered in 1999) restores elements of Adolphe Adam's score that makes it the longest version of the ballet currently available.

It includes the harvest pas de deux (danced with tremendous flair by Maureya Lebowitz and Mathias Dignam) as well as the introductory solo for Myrtha, Queen of the Wilis. Even with extra time there isn't a wasted minute. The farewell performance by two of BRB's finest, principal Ambra Vallo and first soloist Victoria Marr and dedicated to the set designer Hayden Griffin who died earlier this year, was an unusually poignant evening.

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A profile of Daniil Simkin by Roslyn Sulcas in The New York Times.

He ascribed his wide-ranging interests to attending an ordinary high school, rather than a professional ballet school, in Wiesbaden, Germany, where his parents eventually settled after leaving Russia.

“They had both been to ballet school from the age of 10, and my brother had gone off to ballet school in Hamburg, and they didn’t want that for me,” Mr. Simkin said, adding that he never felt any pressure to be a dancer. “It was just my natural habitat, a day at the office with my parents.”

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Smuin Ballet will visit Montana in the fall.

The performance benefits McLaughlin Research through the generosity of Weissman and Allie Knight Weissman, both Montana natives, according to a news release from McLaughlin Institute. Allie Knight Weissman is a longtime trustee of the Smuin Ballet.

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Roberto Bolle talks clothes and accessories in The Financial Times.

Tie by Dolce & Gabbana

I find long slim ties very elegant. The more I’ve worn them, the more I like them. It’s something a lot of people notice now and appreciate.

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