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Mme. Hermine

Sunday, July 28

3 posts in this topic

An obituary for Fernando Alonso:

http://www.havanatimes.org/?p=97098

When interviewed by Havana Times last October Alonso described his later years effort: “To preserve my memory as well as possible, in order to keep with me all of the things that I’ve learned.”

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Pennsylvania Ballet looks to remedy flat ticket sales and other problems with the aid of Michael Kaiser.

http://articles.philly.com/2013-07-28/news/40850227_1_pennsylvania-ballet-michael-scolamiero-louise-reed-center

"You don't get healthy by shrinking," said Kaiser (who is no relation to Pennsylvania Ballet artistic chief Roy Kaiser). "This is not a shrinking plan. It starts with the art. I said to them, 'Think big.' "

Big means commissions, creating new full-length ballets, and collaborations with other groups. Pennsylvania Ballet has solid credentials as a Balanchine company, but some works by the master require more than the 40 dancers on the roster. Could the company borrow dancers from another Balanchine troupe - say, Miami City Ballet - to do these larger works? The idea is being explored.....

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A review of the English National Ballet's Nureyev tribute program by Judith Cruickshank for danceviewtimes.

I hardly know what to make of this revival staged I believe, by Isabelle Fokine. It differs in so many aspects from my memories of the Beriosoff production and the one originally staged by Diaghilev’s own ballet master, Serge Grigoriev, for the Royal Ballet. But more worryingly there was no atmosphere, no sense of the bustling Butter Week fair, and many of the incidents among the crowd which feature so importantly in the action seemed clumsy and artificial. Nancy Osbaldeston, hampered by a curious make-up, did her best with the role of the Ballerina; Shevelle Dynott was the Moor and Fabian Reimar Petrushka, the character seemingly re-thought as an automaton rather than a sawdust-stuffed puppet.....

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