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dirac

Tuesday, July 16

10 posts in this topic

More on Alina Cojocaru's move to the English National Ballet.

The Stage

Cojocaru will make her debut with ENB by performing the role of Medora in Le Corsaire, which opens at Milton Keynes Theatre on October 17.

BBC News

Rojo said she was sure they could give her "the artistic challenges and opportunities she seeks."

"She is one of the dancers I most admire. Her exquisite technique, dramatic qualities and artistry have been a constant inspiration to many, including me," she said.

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A review of the Moscow Stanislavsky Ballet in "Coppelia" by Judith Cruickshank for danceviewtimes.

So; what of Polunin who is being hailed by some of the London press as “the new Nureyev” or “the greatest male dancer in the world”. Well, although prodigiously gifted I would say he’s a long way from deserving either of those descriptions. Now 23, this is the moment when you would expect him to be refining his technique and deepening his interpretations. His elevation is fantastic, he soars easily through the numerous tricky jumps that Petit has set, his line is good and his feet elegantly pointed. But his finish isn’t always as clean as one would like and although he manages multiple turns, they are not very impressive. In short, he’s pretty much the dancer he was when he left the Royal Ballet some 18 months ago.

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Another story on Jeppe Hansen, who claims he was forced to resign from the Royal Winnipeg Ballet School after appearning in pornographic videos.

For their part, the Royal Winnipeg Ballet has not issued a formal retort to Hansen's allegations, pointing instead to some RWB "code of conduct" that forbids students from "performing" without "permission."

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A review of American Ballet Theatre in "The Sleeping Beauty" by Carol Pardo for danceviewtimes.

Alban Lendorf is a prince, though not, perhaps in the long, lithe, linear mode, most familiar to American audiences. Lendorf, not yet 25 and a principal with the Royal Danish Ballet, is on the short side with a square-ish head. His line has softer contours than we’re used to, mezzotint rather than etching, but he’s the real deal. And he brought traditional Danish values—burnished male technique fully integrated with strong characterization—to a production that needs all the help it can get.

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A report on last month's World Ballet Competition USA by Matthew J. Palm in The Orlando Sentinel.

The event concluded with San Francisco Ballet dancers Sasha de Sola and Taras Domitro performing a pas de deux from "Le Corsaire." Both de Sola and Domitro are prior World Ballet Competition medalists. De Sola, a soloist with San Francisco Ballet, has close ties to Orlando and was trained at Central Florida Ballet Academy.

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"Breaking Pointe" photo gallery.

Featured dancers include Principal Christiana Bennett, First Soloist Ronnie Underwood and Demi-Soloists Allison DeBona, Rex Tilton and Beckanne Sisk.

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Q&A with Tamara Rojo by Lyndsey Winship for Time Out London.

Are the qualities you need as a director different to the ones you needed to be a good dancer?
‘For great artists, dancers or otherwise, you need empathy; you need to understand people. That’s something you have to have when you’re in charge of any organisation: emotional intelligence. I don’t think that applies to a dancer, but I wasn’t a typical dancer in that I was always interested in the bigger picture, and I was always questioning, which wasn’t so easy for my previous management. I was told to mind my own business.’

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A look at Alexei Ratmansky and the Shostakovich Trilogy at by Marina Harss in The Nation (Aug. 5-12 issue)

What sparks Ratmansky’s imagination is music. This may seem obvious, but there are plenty of choreographers who take their cues from nonmusical sources and ideas. In Shostakovich, he has an ideal partner. The composer’s sound world offers a vibrant spectrum, from cartoonish chases to crashing dissonances and swooning melodies, often spliced together with very little transition from one mood to the next. Without being programmatic, the music seems to suggest images and stories, though usually discontinuous and jumpy, or layered one on top of the other, and full of mischievous play. As the musicologist Simon Morrison told me not long ago, “The phrases are sometimes misaligned, and cut in different ways. If you listen to his music and think about silent-film technique, it’s the musical equivalent of that.”

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Matthew Bourne announces the second New Adventures Choreographer Award.

Bourne is joined this year on the panel by two new judges; Emma Rice, artistic director of Kneehigh, and Edward Watson, principal dancer at the Royal Ballet.

They are joined by previous judges Scott Ambler, Lez Brotherston, Nina Goldman, Christopher Hampson, Etta Murfitt and Sharon Watson.

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A review of the Moscow Stanislavsky Ballet in "Coppelia" by Judith Cruickshank for danceviewtimes.

So; what of Polunin who is being hailed by some of the London press as “the new Nureyev” or “the greatest male dancer in the world”. Well, although prodigiously gifted I would say he’s a long way from deserving either of those descriptions. Now 23, this is the moment when you would expect him to be refining his technique and deepening his interpretations. His elevation is fantastic, he soars easily through the numerous tricky jumps that Petit has set, his line is good and his feet elegantly pointed. But his finish isn’t always as clean as one would like and although he manages multiple turns, they are not very impressive. In short, he’s pretty much the dancer he was when he left the Royal Ballet some 18 months ago.

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