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Friday, August 2


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#1 dirac

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Posted 02 August 2013 - 10:50 AM

A preview of the Ballet v6.0 festival at the Joyce by Robert Johnson in The Star-Ledger.

....For all their resources, even the most celebrated institutions don’t have the means to support all the gutsy young artists who want to make ballets.

 

"If you’re not Chris Wheeldon and you want to develop your own work, you have to figure out another way to do it," says Linda Shelton, the Joyce’s executive director.

 

 



#2 dirac

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Posted 02 August 2013 - 10:51 AM

Sarah Crompton goes backstage with the Bolshoi for The Telegraph. Video.

 

The ballet was performed regularly in the Soviet Union throughout the 20th century but was almost unknown in the West until 1961.

It became popular after the touring Kirov Ballet performed the famous Kingdom of the Shades scene in which a mesmerising procession of ballerinas dance in unison across a moonlit stage. Rudolf Nureyev then mounted this famous scene for the Royal Ballet, which now has its own full-length version of the tale.

 

 



#3 dirac

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Posted 02 August 2013 - 10:54 AM

American Ballet Theatre will visit Australia for the first time next year.

Dr Bleich said he had been happy to be approached by QPAC to support the bid to bring the ABT out for a August 28 to September 7 Brisbane season.

 

"Brisbane is fast becoming the focal point of the Australian arts scene, and America wants to help by bringing its very best to support that effort."

 

Related.

 

To this day, Baryshnikov’s involvement and lasting legacy is clear. Friday morning, as Jeffrey L. Bleich, the Ambassador of the US to Australia, announced the American Ballet Theatre’s debut in Australia next year, his face in character as the Prince in Swan Lake, was emblazoned on the huge posters in the Concert Hall of the Queensland Performing Arts Centre, the host venue for the ballet performances.

 


 



#4 dirac

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Posted 02 August 2013 - 11:01 AM

Vail International Dance Festival previews.

 

Unusual pairings is a theme in this year’s collaborations for new works. This means taking a fixture of contemporary dance like Larry Keigwin and his modern dance specialists and teaming up with principal dancers from New York City Ballet. Or modern dance star Fang-Yi Sheu collaborating with Memphis jookin’ dancer Ron Myles, Brian Brooks putting the physical strength of a few select dancers to task, or jookin’ star Lil Buck simply creating a new dance with his multi-dimensional talent for merging dance styles. And, going big for its silver anniversary, the 2013 Festival will host a world premiere by modern dance pioneer Paul Taylor.

 

Related.

 

Also on the evening’s program is Balanchine’s classic “Stars and Stripes,” danced by American Ballet Theatre’s Isabella Boylston and New York City Ballet’s Robert Fairchild. Another new partnership appears in Balanchine’s virtuosic gala number “Tschaikovsky Pas de Deux,” as Boston Ballet star Misa Kuranaga and New York City Ballet principal Chase Finlay dance together for the first time.

 

Interview with the musician Cristina Pato.

 

VD: Who or what inspires you?

 

CP: I met the Vail International Dance Festival artistic director Damian Woetzel through Yo Yo Ma, who among other amazing things, is the artistic director of the Silk Road Project. Working with both of them in different environments is a constant inspiration....

 

 

 



#5 dirac

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Posted 02 August 2013 - 11:12 AM

An interview with Wendy Whelan  by Siobhan Burke in The New York Times.

 

While Ms. Whelan has no firm plans to retire from City Ballet, the transition is clearly on her mind. She admires Mikhail Baryshnikov for delving into postmodern dance after his ballet career. “I didn’t see that as something he did for his stardom, but for his artistry,” she said. “And that’s what I want to do. I don’t necessarily want people to go, ‘Wendy Whelan’s next show!’ I want people to say, ‘Who’s Wendy Whelan having a conversation with next?’ ” (The next conversation will involve female choreographers, she said.)

 



#6 dirac

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Posted 03 August 2013 - 10:08 PM

An obituary for Fernando Alonso by Daniel E. Slotnick in The New York Times.

 

The following year the retina in Ms. Alonso’s right eye detached during a performance, and she had to have surgery. (Throughout her career she had severe vision problems, requiring the use of extra-bright lights to guide her during performances.) For the next two years Mr. Alonso helped her recover in Havana, where she was confined to a bed for months. Mr. Alonso later helped his wife learn new roles. For “Giselle” he demonstrated her steps with her fingers.

 



#7 dirac

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Posted 03 August 2013 - 10:15 PM

A review of 3e étage at Jacob's Pillow by Janine Parker in The Boston Globe.

 

There is much that is genuinely entertaining, though Murez has yet to find the perfect balance between dance and (mini-)drama. When they’re not performing in the straight sections, the performers appear as characters woven throughout to push a loose narrative that, we see in the end, is a warning against conformity. If the conceit occasionally wears thin, these formidably pedigreed dancers are always physically fascinating, whether executing the tours and allégro honed through years of fine classical training, or portraying Murez’s endearing mimes who conjure Buster Keaton with their comically slumpy postures and schlumpy gaits.

 



#8 dirac

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Posted 03 August 2013 - 10:25 PM

Seattle's Sherman Clay piano store closes.

 

You don't have to own or even play the piano to appreciate the mark Sherman Clay & Company has made on the local music and arts community. If you've ever witnessed a performance by Pacific Northwest Ballet or listened to a concert inside Benaroya Hall, more than likely you've been touched by the music company.

 

 



#9 dirac

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Posted 04 August 2013 - 10:20 PM

A piece on Alfred Hitchcock and dance by Sarah Kaufman in The Washington Post.

 

Of Alfred Hitchcock’s cinematic obsessions, the moving body is one of the most remarkable. He lingered on bodies in motion with a choreographer’s eye to show us panic, passion and the fragile nature of sanity. Now, in a newly restored version of Hitchcock’s first film, a 1925 silent movie called “The Pleasure Garden,” we can see the roots of that fascination. It all started with dancers.

 

 



#10 dirac

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Posted 05 August 2013 - 11:12 AM

Ian Tanzer of Ballet West II and "Breaking Pointe" joins the Sarasota Ballet.

 

In the show's second season, which began July 22, Tanzer — a dancer with Ballet West II, the Utah company's training grounds, for the past two seasons — is featured vying with colleague Zachary Prentice for a single contract opening with the main company.

 



#11 dirac

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Posted 07 August 2013 - 08:01 AM

Former Miami City Ballet dancer Isanusi Garcia Rodriguez recovers from a brain aneurysm.

 

“I love to dance,” Rodriguez says. “I have to dance. I have to. Even if it’s just one more time.”

 

However, he has used his insurance policy’s limit of 20 sessions of speech and physical therapy. The ballet kept Rodriguez on salary until his contract expired in May though he couldn’t dance. Now Sciturro, 26, is paying for twice-weekly speech therapy and his health insurance out of her salary. She has launched a crowd-funding campaign at gofundme.com that has so far raised about a tenth of the $10,000 the couple say is needed for Rodriguez’s treatment.


 

 



#12 dirac

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Posted 14 August 2013 - 02:53 PM

A Forbes report on Valery Gergiev’s  bottom line.

According to the Russian bureau of Forbes, with an estimated 2011-12 salary of $16,500,000, the richest Russian musician is, in fact, Valery Gergiev.

 

$16,500,000? Wow, now that's a lot of rubles! (54,412,380.00, to be exact.)

 



#13 dirac

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Posted 16 August 2013 - 09:59 AM

An interview with Michael Kaiser.

“We spend so much money to train singers, dancers and painters, but we spend almost nothing to train and employ arts managers,” Kaiser says. “And as arts funding becomes more complicated, the need for these programs increases.”

 

Since his arrival at the Kennedy Center in 2001, Kaiser has led what could be called an overextended double life, managing the $200 million budget of the Kennedy Center while serving as president of the center’s institute for arts management

 




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