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Monday, July 22


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#1 dirac

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Posted 22 July 2013 - 10:08 AM

Dancers of the English Youth Ballet  visit a children's hospital.

 

Taking time out from rehearsals of Giselle, which is at The New Theatre in Cardiff this weekend, principle dancers Julianne Rice-Oxley and Oliver Speers, and fellow performers Richard Read and Adeline Kaiser, transformed the entrance to the unit, located at the University of Wales Hospital, into first a dance studio and then a stage.

 

 



#2 dirac

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Posted 22 July 2013 - 10:11 AM

What's up at the Royal Ballet? asks David Lister in The Independent.

 

So the board of the Royal Ballet, at its next meeting, should not just have a chuckle at the sideswipes of three of its departed stars. It should not dismiss them as diva-esque exaggeration. It should give those dancers, that it publicly praised so many times, the respect of taking their comments seriously. The board should first ask why the company finds itself unable to dance outside London, unless it is a glamorous plane-ride away. And it should then ask the management of the company how it managed to alienate those dancers. To alienate one star ballet dancer is unfortunate. To alienate two, and by the sound of it three, has to be an alarm call.

 



#3 dirac

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Posted 22 July 2013 - 10:17 AM

A preview in brief of the first episode of the second season of "Breaking Pointe."

 

The Ballet West dancers return from winter break and begin tryouts for "Cinderella." Famed former ballet dancer Wendy Ellis Somes arrives to assist Artistic Director Adam in the audition process.

 



#4 dirac

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Posted 22 July 2013 - 10:25 AM

A preview of the Nutmeg Ballet's Summer Dance Festival.

 

Artist in Residence, Eleanor D’Antuono, is known for her fiery virtuosity, unique lyricism, and bravura when she graced the stages of American Ballet Theater as a principal dancer for more than 25 years. The New York Times had this to say about one of The Nutmeg’s gems, "Eleanor D'Antuono has long been one of the glories of American Ballet Theatre. She has a style and beauty that are all her own. Her technique is stunning." The summer trainees have had the unique advantage of Ms. D’Antuono’s stunning technique as they worked on various classical variations under her ever watchful eye.

 



#5 dirac

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Posted 22 July 2013 - 10:27 AM

Carlos Acosta opines on Poluninpalooza.

“If you fall out of love with ballet, then you shouldn’t do it. You should ask yourself why you are doing it in the first place. Is it for the money, or are you doing it just to be rich? You have to love it in order to keep doing it, otherwise why bother?”

 

Of Polunin’s walkouts, he says: “I don’t think that’s the way to go. That’s not the tradition we have inherited. The people who came before us had tremendous commitment. I was always taught to respect my art...."

 



#6 dirac

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Posted 22 July 2013 - 10:35 AM

An interview with Misty Copeland.

 

Despite her success, Copeland views her place as far from assured. After three years, she was still the only black woman at the ABT in
a company of 80 dancers. “The ballet world is so isolated that it’s hard for anyone to fathom. People say, ‘You’re in New York. How is this possible?’ It is just very exclusive.” Even after reaching the privileged rank of soloist in 2007, challenges remained. “It’s getting the idea into people’s heads that ballerinas can have brown skin that is frustrating. There are so many stereotypes.”

 

 

Photo gallery.



#7 dirac

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Posted 22 July 2013 - 10:37 AM

A profile of 16-year old dancer Cesar Corrales.

But dance entered his life when he was an infant and took an early hold as he followed his parents, who are originally from Cuba, as they worked around the globe.

 

"We were a couple of dancers traveling around the world so we didn't have a grandma, we didn't have someone to take care of the children," says Taina Morales, his mother.

 



#8 dirac

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Posted 22 July 2013 - 10:38 AM

Nikolai Tsiskaridze is interviewed by Judith Mackrell in The Guardian.

 

Despite the terrible pictures that have come out of the German clinic where Filin is being operated on, Tsiskaridze also believes the attack was nowhere near as serious as it has been represented. "I'm just asking for proof," he says. "Normally a person who has had an acid attack has burnt hands, has no eyelashes or eyebrows, and they can't use their voice." But isn't Filin said to be on his 18th operation, having lost 95% of his sight? "Look at women who've had chemical peels. How can those statements come from the doctors? It would be against their oath."

 



#9 dirac

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Posted 22 July 2013 - 10:41 AM

 Teacher Andrea D'Annunzio  talks about the special nature and importance of corps work in Broadway World's blog.

 

.....I am surprised and disappointed however, to say that over these two summers, there have been more students who are disappointed to find themselves in the corps of Swan Lake, than those who are excited. The general feeling is that you don't get to dance when you're in the corps de ballet, and that you just stand there and blend in, so it's boring and tedious. I'm not saying that it isn't tedious, but the skills a dancer learns by experiencing corps de ballet work are vital to their future as an aspiring professional ballet dancer.

 

 



#10 dirac

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Posted 22 July 2013 - 10:47 AM

A preview of 3e Etage at Jacob's Pillow by Ken Ross in The Republican.

Murez loves performing there with the world-renowned classical ballet company, he said during an interview in 2011 prior to the group's performances at Jacob's Pillow. But he also realized early on in his career he wanted to perform works that reflect the world we live in today.

 

“The world is changing and I’m coming from a tradition where a lot of stuff is done the way it was in 1661,” he said during the 2011 phone interview from Paris.

 



#11 dirac

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Posted 23 July 2013 - 09:29 AM

A review of "Breaking Pointe" by Caroline Siede for The A.V. Club.

 

This show is at its strongest when it sits back and captures the drama inherent to the ballet world. An injury is the oldest cliché in the sports-movie handbook, but that makes it no less compelling to see how one missed landing in a ballet last season could potentially stop Ronnie from ever dancing again. Josh is allowed to speak thoughtfully about the difficulties of being an African-American male ballet dancer from an underprivileged background and the only black male in the company...

 



#12 dirac

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Posted 23 July 2013 - 10:44 AM

An omnibus review  of the LA Philharmonic, ABT, Los Angeles Ballet, and Hubbard Street/Alonzo King by Donna Perlmutter for LA Observed.

The same could not be said, though, for the new conglomerate Hubbard Street Dance/Alonzo King Lines Ballet.

 

First off, the Hubbard Chicagoans, marvelous keepers of the Twyla Tharp flame among other dance wonders, never pretended to be a ballet company. And the King San Franciscans, which specialize in dancercizes or eye-catching, full-body undulations and boneless extensions for their own sake, do what I can only call a corruption of ballet. All this was a shameless waste of superb dancers.

 



#13 dirac

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Posted 23 July 2013 - 10:48 AM

Anaheim Ballet's "More Than Dance" podcast by Evan Rosenberg makes a splash on YouTube.

 

The 31-year-old La Habra Heights director, actor, dancer, and choreographer—and son of Anaheim Ballet founders Lawrence and Sarma Lapenieks Rosenberg—created the first regular video ballet podcast. Since the premiere with Korean-born dancer Jimmy Cha, these fun video postcards have racked up nearly 47 million views. Excerpts have been licensed by Dr Pepper, and shown on “Dancing With the Stars.”

 

 



#14 dirac

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Posted 23 July 2013 - 10:51 AM

A story on Gainesville Ballet Company's  summer intensive.

Alvarado was impressed by the dancers technique compared to the college students she normally teaches.

“At the university, I get all levels (of dancers),” she said. “Here, they are all classically trained. Everyone has that proper technique. I just have to tweak and pull from them their skills.”

 



#15 dirac

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Posted 23 July 2013 - 10:54 AM

A review of a CD with Antill's "Corroboree" and Morton Gould's "Interplay" by John Sunier for Audiophile Audition.

 

This 1959 recording of Antill’s Corroboree, engineered by Bert Whyte, has been an audiophile cult favorite ever since. The extraordinary suite from a ballet seems to be the only thing out there by the Australian composer, who created a percussion-heavy suite from which we have here five-movements—a musical evocation of an Australian Aboriginal dance ceremony. Conductor Goossens is responsible for having discovered the unusual, primitive-sounding work when he took over the Sydney Symphony Orchestra. In some ways it is a sort of Australian counterpart to Stravinsky’s Rite of Spring....

 




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