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Saturday, July 6


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#1 dirac

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Posted 06 July 2013 - 04:10 PM

A review of Boston Ballet  by Luke Jennings in The Observer.

 

Afternoon of a Faun, originally choreographed in 1912 by Vaslav Nijinsky, is rather less credible. To work, the piece must be performed with absolute intensity and precision, and Altan Dugaraa's Faun is too lightweight. There's no tension or mystery here, just a shallow narcissism which at times edges into camp. Jorma Elo's Plan to B (2004) returns us to the 21st century. A high-octane display piece set to music by the 17th-century composer Heinrich Ignaz Franz von Biber, it invites six dancers, four of them male, to cut loose and show off a variety of high-speed tricks. Although depthless, it serves as a welcome palate-cleanser after the over-sauced Faun, and leads us into Balanchine's Symphony in Three Movements.

 

 



#2 dirac

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Posted 06 July 2013 - 04:12 PM

A preview of Post:Ballet  by Carla Escoda in The Huffington Post.

 

Then there's Robert Dekkers, founder of Post:Ballet, who likes to tell audiences what his dances are all about, cheerfully sharing his thought processes and roadmaps. The 28-year-old choreographer promises detailed program notes for his latest collaboration with architect Robby Gilson and composer-violinist Matthew Pierce which premieres at Yerba Buena's Lam Research Theater on July 18 & 19.

 

 



#3 dirac

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Posted 06 July 2013 - 04:14 PM

An editorial  in The Saratogian urges readers to go to the ballet.

 

Since SPAC’s inception more than 40 years ago, the NYCB has been its primary resident in July, and the Philadephia Orchestra in August.

But the subsidies have become too high for SPAC to reasonably bear. The length of the NYCB residency has shrunk in recent years from three weeks to two and now to one — but the one week is actually five days.....

 



#4 dirac

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Posted 06 July 2013 - 04:16 PM

A Saratogian piece on a new book,  “Dance in Saratoga Springs,” by Denise Warner Limoli.

 

“Dance in Saratoga Springs” is dedicated to the memory of Mae G. Banner, with the gratitude of all dancers and dance lovers in Saratoga Springs. Banner, who never missed a performance of the New York City Ballet durings its summer residency, was The Saratogian’s dance reviewer.

 



#5 dirac

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Posted 06 July 2013 - 04:22 PM

An interview with four young artists about the financial challenges they face while pursuing a life in the arts by Carrie Seidman in The Sarasota Herald-Tribune.

 

In the seven years Amy Wood has been with the Sarasota Ballet, there has never been at time when she hasn't had at least one other job, often two. This summer, for the 17 weeks of the year when she is not under contract as a soloist with the Sarasota Ballet, she is working both as a hostess at the Lido Beach Resort Grill and in the ballet's administrative offices, handling the organization's group sales.

 



#6 dirac

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Posted 06 July 2013 - 04:24 PM

A review of Les Ballets Trockadero de Monte Carlo  by Susan Isaacs Nisbett for AnnArbor.com.

 

It’s been about 25 years since the Trocks, as they are known, have been in Ann Arbor, and the program they presented Friday included old favorites—for example, Act II of “Swan Lake” and “Go for Barocco,” Peter Anastos’ astute send-up of Balanchine’s neo-classical “Concerto Barocco.” These hold up more than well. In fact, it was only the broadest of the flock of dances, the “Dying Swan”—a heavily moulting version of Pavlova’s classic solo to Saint-Saens—that seemed less than immortal. Still, even there, Lariska Dumbchenko (Raffaele Morra) was smartly stylish, gliding in on pointe with little, liquid bourrees and properly rippling arms.

 



#7 dirac

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Posted 08 July 2013 - 11:02 AM

An interview with Justin Peck.

When Ballet Master in Chief Peter Martins approached him about creating a new work, Peck immediately knew what he wanted to do. He contacted Stevens, who lives in Brooklyn, to talk about a collaboration. “I brought him to the ballet, and we got dinner afterwards. I explained everything to him, and he just kind of listened. At the end of dinner, he said it sounded like an intriguing project,” Peck said.

 

Stevens, who based his 2001 “Rabbit” song cycle on the animals of the Chinese zodiac, worked closely with Peck to bring the piece to fruition.

 

 




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