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Monday, July 1


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13 replies to this topic

#1 dirac

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Posted 01 July 2013 - 10:13 AM

A review of the Paris Opera Ballet in "La Sylphide" by Laura Cappelle in The Financial Times.

 

This version finds the Bolshoi star at the apogee of her stylistic powers. Obraztsova, who first danced the role with Moscow’s Stanislavsky Ballet in 2011, has been a muse for Lacotte in recent years, and hers is a definitive interpretation, exquisite in step and manner, a true meeting of minds between choreographer and dancer. No other ballerina today so effortlessly masters both the Russian and French styles: her footwork is a wonder of expressive clarity. To see her is to be drawn into her world, just like James: she floats through Lacotte’s punishing, intricate variations with the grace of a Romantic lithograph come to life, unconcerned with gravity or effort, delighting in her art every step of the way.

 

 



#2 dirac

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Posted 01 July 2013 - 10:15 AM

Anne Mueller  is hired as the new managing director of the Bag&Baggage theater company.

 

Mueller, a former professional dancer for 18 years –15 seasons with OBT– in addition to roles as OBT's artistic coordinator and director of artistic operations, is a familiar face at Bag&Baggage. In July 2012, she made her post-ballet-retirement debut as Lavinia in their production "Kabuki Titus," Palmer's original adaptation of Shakespeare's tragedy "Titus Andronicus."

 



#3 dirac

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Posted 01 July 2013 - 10:15 AM

Ballet Spartanburg gets a state grant.

 

Ballet Spartanburg has been awarded a $15,000 grant by the South Carolina Arts Commission to expand the organization’s community outreach, especially its dance classes for people with neurological disorders, such as Parkinson’s Disease.

 



#4 dirac

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Posted 01 July 2013 - 10:17 AM

An interview with Adam Bull.

 

Adam is particularly happy with the depth Stephen Baynes has brought to his character. “The Prince can come across as a bit of a spoilt brat, to be honest,” he says, “he’s rich, he’s eligible, he goes to fabulous parties, and he’s pretty one-dimensional in a lot of productions, but Stephen has given him a bit more of a back story by altering the start to have the Prince mourning his father’s death, which gives more context to his behaviour later when he falls for Odile under Rothbart’s spell. So you get an idea of both the Prince and Odette being trapped in some way. That’s one of Stephen’s great gifts, he’s a real story-teller. I think it works really well.”

 



#5 dirac

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Posted 01 July 2013 - 10:21 AM

A review of American Ballet Theatre in "Sylvia" by Barnett Serchuk for Broadway World.

 

With all due respect, I find Sylvia interesting in parts, but dull in the overall. A friend of mine said it's well constructed, and I certainly agree with her. Ashton has choreographed some wonderful dances: the entrance of Sylvia and her nymphs to music that seems to herald the second coming of Brunhilde, and the enchanting third act divertissements, which boost the ballet from the longeurs of the second act. Wisely, ABT has now linked the second and third acts together, which happily segues from the dull to the interesting and mind awakening.

 



#6 dirac

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Posted 01 July 2013 - 10:23 AM

A review of Pearlann Porter's "The Green Swan" by Jane Vranish in The Pittsburgh Post-Gazette.

Ms. Rakov disappeared, then emerged from beneath a covering like a swamp creature. And finally she was transformed into a bare-breasted Black Swan with tutu and motorcycle jacket.

 

Part horror story, part science fiction, part love story, "The Green Swan" may have embraced the ugliness in and around us, taking apart the structure and history of ballet. But in the end, it wound up creating its own luminous sense of beauty.

 


 



#7 dirac

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Posted 01 July 2013 - 10:29 AM

A profile of the tennis player Laura Robson notes she was once offered a Royal Ballet School scholarship.

 

At first she was confined to collecting the balls, a job that was rewarded with 10 minutes’ play at the end. She started playing at the age of six, and by the age of nine was getting up at 6am to play tennis before school, later switching to home tutoring so she could devote more time to the sport — and sat her GCSEs just days before her debut Grand Slam at Wimbledon in 2009.

 



#8 dirac

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Posted 01 July 2013 - 10:34 AM

An interview with Christine Rocas.

 

Although Joffrey Ballet prides itself for its democratic structure, Rocas admits that she isn’t always in the first cast. The principal dancer, Victoria Jaiani, graces the opening nights where the reviewers and patrons attend.

 

Rocas considers herself lucky to be learning the principal roles and landing in the second or third cast. Even if she doesn’t get noticed by the press, the audience would come up to her after the show to commend her work.

 

 



#9 dirac

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Posted 01 July 2013 - 10:38 AM

Alexei Ratmansky makes a new "Cinderella" on the Australian Ballet.

Ratmansky will be teaming up with award-winning costume designer Jérôme Kaplan to realise his creative vision. The duo have previously worked together on costumes for Het National Ballet’s Don Quixote and the world premiere of Lost Illusions at the Bolshoi; the latter won Kaplan a Golden Mask Award for Best Costume Design.

 

A team of 25 costumiers are currently working on bringing over 40 of Kaplan’s designs to life. In total, there will be approximately 275 costumes to dress all the different casts.

 



#10 dirac

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Posted 01 July 2013 - 11:27 AM

A review of the Estonian National Ballet  by Mary Ellen Hunt in The San Francisco Chronicle.

 

Tiit Helimets, the Estonian-born San Francisco Ballet principal who danced with the Estonian National Ballet until 1999, was instrumental in bringing his compatriots to San Francisco. He was also the choreographer for a piece commissioned for the festival, "Time," set to a recorded score by Paula Matthusen. Helimets is a superlative partner, so it was unsurprising that much of his contemporary ballet played out in sharp shifts of weight and suspended shapes produced by unusual partnering.

 



#11 dirac

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Posted 02 July 2013 - 11:03 AM

Video and transcript of the PBS NewsHour segment on David Hallberg.

JEFFREY BROWN: If the Bolshoi is an unlikely place for a South Dakota-born, Arizona-raised kid to end up, Hallberg, now 31, credits Fred Astaire with setting him on the path, beginning at age 8, when he watched "Top Hat" on TV.

 

DAVID HALLBERG: I was glued to the way he moved, sort of his suaveness, you know, his seamless way of movement. And he was a huge inspiration to me when I was young.

 



#12 dirac

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Posted 02 July 2013 - 11:33 AM

Alicia Alonso visits South Africa.

 

Alonso traveled to Johannesburg to attend a gala in her honor by internationally renowned ballet companies, such as the English National Ballet, the Dresden Ballet, the Columbia Classical Ballet, the South Korea Ballet, the Mariinsky Ballet and the South African Mzansi Ballet.

 



#13 dirac

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Posted 02 July 2013 - 11:37 AM

A story on the Alonzo King LINES Dance Center.

 

Courses are offered in ballet, jazz, flamenco, modern dance and hip hop. Students have an opportunity to take classes from prominent dancers and choreographers at the center.

The dance center has been in existence since 1989, and it has been in its current location since 2002.

 



#14 dirac

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Posted 29 July 2013 - 09:17 PM

A review of Leaps in the Dark: Art and the World, a collection of the writings of Agnes de Mille edited by Mindy Aloff, by Megan Pugh for The Boston Review.  Thanks to kfw for sending in the link!

 

Take, for example, de Mille’s assessment that Anna Pavlova performed some of “the silliest and most tasteless” choreography she had ever seen, holding “each pose until she got applause like a circus performer.” Yet this was a dancer who made audiences, de Mille included, fall in love. “Occasionally, she chewed a paper rose with her teeth. Corn?” de Mille asks. No. “Thunder and fire.” On its own, comparing a dance performance to thunder and fire might not tell you much. But de Mille restores the force to these elemental powers by allowing them to storm into an entertainingly tacky world.

 

 




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