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Monday, August 5


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#1 dirac

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Posted 05 August 2013 - 11:03 AM

Reviews of the Bolshoi Ballet in "La Bayadere."

 

The Independent

 

Smirnova does show a few exaggerations, sometimes distorting her line with sky-high legs. Dancing a mournful solo when her beloved Solor is betrothed to the princess Gamzatti, she stretches into deep backbends, letting her flexibility overtake her sorrow. It’s still a vivid account of the dance, moving between unhappiness and hope.

 

 

Financial Times

 

 
On Saturday night the Bolshoi Ballet showed us La Bayadère and gave London its first sight of Olga Smirnova (stress the second syllable), its newest talent. At the age of 21 she is an undoubted marvel. I reported last autumn on her Moscow appearances in Balanchine’s Diamonds – a role she repeats here next week – and on the ravishing qualities of her dancing, notably in the unaffected beauties of her upper body, with an exquisite dialogue between head and shoulders and the placing of the arms.

 

 



#2 dirac

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Posted 05 August 2013 - 11:07 AM

Benjamin Millepied  is interviewed by Sarah Crompton in The Telegraph.

 

Since that moment a double-edged sword has hung over Millepied’s head. He clearly adores the woman who last year became his wife, but the global nature of her fame casts a shadow over his own. In a long profile in 2011 the New York Times suggested that it was his charm and connections rather than his talent that had led to his many choreographic commissions. Elsewhere he was criticised for doing advertisements for Yves Saint Laurent and Air France, among others.

 



#3 dirac

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Posted 05 August 2013 - 11:09 AM

A review of the Queensland Ballet by Deborah Jones in The Australian.

Emma Lippa is one of Australian ballet's hidden treasures. She developed her formidable skills as an accompanist at the Bolshoi Ballet, then used her gifts for two decades at the Australian Ballet.

 

Lippa has retired from the AB, but not from the piano or ballet, as Queensland Ballet audiences were privileged to see at the weekend.

 



#4 dirac

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Posted 05 August 2013 - 11:15 AM

Jacques d'Amboise's book is quoted in an article on an unsolved murder/disappearance case.

 

D’Amboise remained friends with the family over the years, and followed the younger man’s career through his mother. On Feb. 29, 1976, d’Amboise and his wife, Carrie, were planning to stay with Bishop and his family in Bethesda after a performance at the Kennedy Center in Washington, D.C. That would have placed the couple in the Bishop house on March 1. But after suffering an injury to his knee two days earlier, the dancer had to cancel.

 



#5 dirac

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Posted 05 August 2013 - 01:47 PM

A review of Aterballetto  by Paula Citron in The Globe and Mail.

 

... Embedded in his choreography are elongated stretches that give the illusion of movement pouring out of the body. Precise placement gives a polished shine to the dance steps, while angles and flexes of the torso and limbs present visual surprises and delights. In his wrap-around partnering, Bigonzetti loves to combine a tangle of bodies with dangerous overhead lifts.

 

What makes a Bigonzetti work so fascinating is how his striking ballet-based vocabulary can manifest itself into different moods.

 



#6 dirac

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Posted 06 August 2013 - 05:50 PM

A preview of the Ballet v6.0 festival by Brian Seibert in The New York Times.

 

Among the groups taking part, Jessica Lang Dance is the anomaly in being associated with so many larger ballet companies. Most of the troupes have a strong connection to just one mother ship. Dominic Walsh, the director of Dominic Walsh Dance Theater, was long a principal dancer with Houston Ballet. Olivier Wevers, the founder of Whim W’Him, danced with Pacific Northwest Ballet. Troy Schumacher, the choreographer of BalletCollective, is still dancing with New York City Ballet, as are many of his troupe’s dancers.

 

“Not everyone can be a resident choreographer of a major ballet company or wants to wait for the artistic director slot to open up,” said the Joyce’s executive director, Linda Shelton. So there are offshoots. “We’re seeing more and more of them,” Ms. Shelton said. “They’re approaching us all the time.”

 

 



#7 dirac

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Posted 06 August 2013 - 06:07 PM

An obituary for British diplomat Sir Kenneth James, dead at age 87.

 

James’s first experience of the communist bloc had been in the period 1959-62, when he had served as First Secretary and Cultural Attaché in Moscow. A fluent Russian speaker, in 1960 he helped to draw up a British-Soviet cultural agreement, under which in 1961 the Royal Ballet, with Margot Fonteyn, came to perform in Moscow, Leningrad and Kiev (the Bolshoi later made a return visit). There was also a major theatre exchange; and the London Philharmonic came on a similar tour, conducted by Malcolm Sargent.

 



#8 dirac

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Posted 07 August 2013 - 09:12 AM

A feature on the Vail Valley Academy of Dance.

 

Over the past 25 years, a focus on the Vaganova (Russian) syllabus has honed the ballet training to a superior level. Vail Valley Academy of Dance has been turning out dancers who successfully audition for prestigious summer intensives offered by companies and schools around the world. Some of these dancers have performed in China and Scotland during their summer programs.

 



#9 dirac

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Posted 16 August 2013 - 09:55 AM

Toni Bentley's The Surrender  is adapted for the stage.

 

If the Edinburgh Festival Fringe must start with a bang, there are few more graphic ways of doing it than with Spanish actress Isabelle Stoffel's solo adaptation of Toni Bentley's singular sexual memoir, THE SURRENDER. In both the book and the play, Bentley is a woman in search of spiritual enlightenment who finds it through the physical extremes of sex.

 




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