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Wednesday, July 31


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#1 dirac

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Posted 31 July 2013 - 11:18 AM

Reviews of Carlos Acosta's "Classical Selection."

 

The Guardian

 

Carlos Acosta's summer shows are becoming a seasonal regular. But while some of his previous programmes have been criticised for being too experimental and dance-lite, this year you get a stageful of steps for your buck. Classical Selection offers no less than 13 extracts, ranged across the 20th-century repertory. One or two are gala staples, but many I've never seen extracted before, including the suicide scene from Kenneth MacMillan's Mayering.

 

The Telegraph

 

It looks lovely but it is a difficult opener, and its reticence characterises a slightly stuttering first half. Melissa Hamilton is a beautiful Dying Swan in Fokine’s famous solo but Ricardo Cervera and Yuhui Choe don’t make much impact in Ashton’s Rhapsody, for all his dazzle and her lyricism.

 

The Stage

 

But this is Carlos’ night. The Cuban dancer comes alive in Scheherezade, showcasing the rowdy strength and soaring jumps that he is known for, perfectly partnered by Marianela Nunez’s wily seductions, beautifully extended leaps and hyper-mobile lines. Nunez plays a charming Diana to his Actaeon, rapturous and excitable, as Acosta’s rough grace powers on.

 

 



#2 dirac

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Posted 31 July 2013 - 11:21 AM

More reviews of the Acosta program.

 

The Independent

 

Acosta recently warned of a shortage of ballerinas, suggesting Britain should import more female dancers. As he knows, it already does: his co-stars include Argentinian Marianela Nuñez and Australian Leanne Benjamin, who recently retired from The Royal Ballet. In Acosta’s thoughtful programming, the evening is an extra farewell for Benjamin. She dances a gorgeous Manon pas de deux with Nehemiah Kish, before joining Acosta for excerpts from Kenneth MacMillan’s Mayerling and Requiem.

 

The Evening Standard

 

In the coda of the show, Acosta takes a chair, towels himself down and changes out of his costume. While pianist Robert Clark plays Tchaikovsky, the dancer sits looking out into the distance, as if thinking to himself: What next?

 

The Arts Desk

 

That was one of the four topless-Carlos numbers. Another was the camp Sheherazade duet - the longest, silliest pas de deux ever tacked together, may we please be excused from believing by Michel Fokine? Nuñez writhes languorously like a sunbathing asp in gold lamé trousers, a cruel tease to a lusty Golden Slave like Acosta, who hurls himself through the air in great palpitating jumps. It’s the equivalent of Ferrero Rocher - you're just longing for some real chocolate with a quarter of the sugar.

 



#3 dirac

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Posted 31 July 2013 - 11:26 AM

Vladimir Urin is pleased with the reception given the Bolshoi Ballet by British audiences.

 

Mr Urin said he would be visiting Mr Filin tomorrow and hoped that he would be able to return to the ballet company soon.

 



#4 dirac

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Posted 31 July 2013 - 11:29 AM

Reviews of the Bolshoi Ballet in "Swan Lake."

 

The Daily Express

 

But the talent is undoubtedly present. As Odette/Odile, Svetlana Zakharova is a magnificent creature - a genuinely credible Swan Queen with liquid arms and expressive line.

A cool beauty with a turbo-charged technique she resembles a pitiless Russian hitwoman on point. If her Prince Siegfried (Alexander Volchkov) is a dull old thing in comparison it hardly matters as he is invisible whenever she is on stage.....

 

Metro

Zakharova has put her disgruntlement behind her to lead off the company’s opening salvo, Yuri Grigorovich’s reimagined Swan Lake. As Odette she moves with swooning, melancholic slowness all endless legs and extraordinary foot extensions; her Black Swan Odile radiates spiky, icy hauteur.

 

It’s a shame Alexander Volchkov doesn’t match up; he starts out with languorous opening leaps but never switches up the emotional tempo, doesn’t really connect with Zakharova and looks less than stellar in his solos.

 



#5 dirac

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Posted 31 July 2013 - 11:34 AM

Orlando Ballet  dancers offer a summer intensive "boot camp."

The ballet's Katia Garza and Arcadian Broad, along with alumnus Israel Rodriguez, have teamed with Art of Movement founders Robert Prescott Lee and Sheri Metcalf to present the program at the Orlando Ballet building on Orange Avenue.

 

Lee is a well-known Los Angeles-based dancer who has worked with artists such as Celine Dion, Britney Spears, Samantha Mumba, JoDee Messina, Ashanti and others. He spent two years touring with Latin singer Chayanne.

 



#6 dirac

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Posted 31 July 2013 - 11:38 AM

Dancer Leigh Alderson  talks about raising awareness about suicide after the death of his fiance and others.

After Ricky’s death, another four of Leigh’s friends took their own lives, and the “anger” that he felt convinced him of the need to do something positive.

 

Leigh, who is now with Les Grands Ballets in Montreal, one of the best ballet companies in the world, describes his fiance’s suicide as being “truly the most difficult thing I’ve ever had to deal with”.

 



#7 dirac

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Posted 31 July 2013 - 03:27 PM

Dance Center No. 1 from Augsburg, Germany will give a free performance in Grand Rapids.

 

Istvan Nemeth and Natalie Boeck-Nemeth, both former soloists and partners with several European ballet companies, founded Dance Center No. 1 in 1995 in the southern German city, which lies northeast of Munich in the region of Bavaria.

 



#8 dirac

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Posted 31 July 2013 - 03:31 PM

The Ballet Austin Foundation receives a $1.5 million grant.

 

To date, the Butlers have invested $1.85 million in the training program, which takes dancers from across the nation and gives them 17 hours of instruction per week in ballet technique, variations, partnering, men’s technique, modern, jazz, Pilates, body conditioning and repertoire. It is estimated that each fellowship costs $5,000 per academic year per student.

 



#9 dirac

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Posted 01 August 2013 - 06:05 PM

A review of Aspen Santa Fe Ballet at Wolf Trap by Sarah Kaufman in The Washington Post.

 

But after the motif of sharp moves in successive arrangements had run its course, the dancing slid into the familiar territory of so many other contemporary works in circulation among the smaller regional ballet companies. The choreography was interchangeable with what I’ve seen of Liang’s, Fonte’s or even Cerrudo’s work. His “Last,” made for this company last year, followed “Fold” to its detriment, because it was so similar. (Only lit a little darker. Dark lighting is another virus spreading fast through contemporary ballet.)

 

 



#10 dirac

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Posted 01 August 2013 - 06:14 PM

Liam Scarlett makes a pas de deux sales pitch for Forevermark Diamonds.

 

The dance captured an intense romance and was, in fact, surprisingly relatable—not to mention poignant, and moving. Members of the audience were transfixed by Morera and Gartside as they leapt across the floor, embracing each other, then pushing away, only to embrace again. Of course, the performance can’t take all the credit: The onstage lovers were dripping in a hypnotic array of Forevermark’s ultra-rare, near-perfect stones. “They wanted to give me a really big diamond ring, but dancing is rigorous, and we were worried that it would cut Ben’s face, so we had to tone it down a bit,” said Morera post-show (her replacement rock, however, still looked like it could do some damage).....

 

 

Related.

 

What was the drawing board process like for marrying these two art forms?
Scarlett:
It was very collaborative process. There was no music and we just had the diamonds. We just brainstormed around a big table and thought, “Where do we want this to go?” The idea of a relationship, what everyone thought about that. What a diamond meant to everyone. From there we developed a theme we wanted to portray but I couldn’t really do much until I got the dancers in front of me in a studio. It really is like a snowball process, it just builds, and builds, and builds until you have a finished artwork.

 



#11 dirac

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Posted 01 August 2013 - 06:30 PM

A profile of Peter Baryshnikov, son of Mikhail, by Celia McGee in The New York Times.

 

Mr. Baryshnikov got his start in the field “fooling around in photography class” in high school, at Fieldston, he said, where he also fenced and played soccer and ice hockey. He grew more serious at Whitman College, in Walla Walla, Wash. “It was good to get out of New York, get fresh air,” said Mr. Baryshnikov, who left Whitman after two years to get his bachelor’s of arts degree in photography from the Art Institute of Boston.

 

He is close to his father and mother, Lisa Rinehart, a dancer turned writer, and he has two sisters, Anna and Sofia-Luisa, still in college, and a half-sister, Alexandra, a dancer, whose mother is Jessica Lange. He is protective of the family’s privacy and any knee-jerk associations with his last name. The initial invitation to the Hamptons opening didn’t mention the artist by name because, Mr. Gerson said, “we didn’t want it to be about that.”

 



#12 dirac

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Posted 06 August 2013 - 06:10 PM

Darcey Bussell is interviewed in the September issue of "Woman & Home."

 

“I was already a great fan of Strictly before I started on the show,” she says. “I loved watching the professional dancers, and how they got the best out of the contestants. At the beginning, everyone was critical – of everything I did! I knew the public would either totally hate me or love me, but I've been criticised throughout my career. That's part of the game, so I knew it came with the territory.”

 

 




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