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Thursday, August 22


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#1 dirac

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Posted 22 August 2013 - 10:16 AM

Svetlana Lunkina joins the National Ballet of Canada.

 

Karen Kain, the National Ballet of Canada’s artistic director, announced on Wednesday that Evan McKie would also become a principal guest artist, with Matthew Golding and Jiri Jelinek joining the troupe as guest artists.

 

 



#2 dirac

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Posted 22 August 2013 - 10:18 AM

A feature on the National Ballet of Cuba's  Osiel Gounod. Text and video interview.

 

In an on-camera interview, Carlos Acosta acknowledges that Osiel is one of the best of the current generation of male dancers. As Cuban Art News readers may recall, Acosta is currently fundraising to create a ballet school and arts center on the campus of the former National Arts Schools (now the Instituto Superior de Artes, ISA). He is particularly proud that Gounod, like he himself, is black. “We need more black princes,” Acosta remarks.

 



#3 dirac

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Posted 22 August 2013 - 10:22 AM

African-American student Precious Adams  enters her final year of study at the Bolshoi's academy.

 

About 20 Americans now live and study at the academy. Last year, Joy Womack and Mario Labrador were the first Americans to graduate when they finished their studies and went on to top Russian ballet companies.

 

 

Related.

 

Precious' family — which also includes orthodontist dad Clement, brother Parker, 19, and Portia, 15 — have yet to see her perform at the Bolshoi but plan to be at Precious' graduation performance next spring. Portia studies at the San Francisco School of Ballet and lives with family there.

 



#4 dirac

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Posted 22 August 2013 - 11:10 AM

Gillian Murphy  performs "Swan Lake" with the Royal New Zealand Ballet.

 

Choreographer Russell Kerr's take on the famed story of love and tragedy has been showing around New Zealand since last month, with the support of the New Zealand Symphony Orchestra, the Christchurch Symphony Orchestra and the Auckland Philharmonia Orchestra.

 



#5 dirac

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Posted 22 August 2013 - 11:12 AM

Nico Muhly talks about LA Dance Project.

 

When Millepied and Muhly decided to set up LA Dance Project, they wanted it to be a place where composers and choreographers could pair up to generate special new works, and also present works they considered had been overlooked. So next month sees LA Dance Project present the world premiere in Lyon of a piece choreographed by another NYC Ballet dancer-turned-choreographer, Justin Peck, featuring original music by Bryce Dessner, from the Brooklyn indie-rockers, the National. The month after, they’re putting on Invisible Cities in LA, an opera to be enjoyed through wireless headphones, based on a book by Italo Calvino.

 



#6 dirac

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Posted 22 August 2013 - 11:14 AM

The Jacob's Pillow season wraps up this weekend.

 

The evening also will afford opportunities to catch up on the festival’s summer photo exhibitions, including "Shooting Stars," which encompasses uncommon sights and vantage points, through photos taken by professional dancers, such as Wendy Whelan’s revelations about goings on in New York City Ballet dressing rooms, and Miguel Anaya’s backstage view from the 2012 production, "From the Horse’s Mouth: The Men Dancers."

 



#7 dirac

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Posted 22 August 2013 - 11:15 AM

A preview of "Nijinsky's Last Dance," a play by Norman Allen, by Patrick Folliard for the Washington Blade.

 

At 80 minutes without intermission, “Nijinsky’s Last Dance” mixes text, movement, music and sound. The piece is biographical, but rather than being strictly chronological, it’s more of a poetic, dramatic wash of his life. And though a one-man show, the actor slips in and out of other characters.

 



#8 dirac

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Posted 23 August 2013 - 10:38 AM

A review of "Stars of American Ballet" by Katie Dravenstott for TheaterJones.

 

Christopher Wheeldon’s Liturgy showed just how much ballet has evolved over the last couple of decades. Gone are the tutus and men’s white tights. Gone is the featured female role. In Liturgy Krohn and Angle were equally matched in terms of strength and control. They had to be in order to pull off some of the contortion movements and counter-balance shapes featured in the piece. Liturgy begins with Krohn in the foreground and Angle a couple of steps behind performing a series of hand gestures and upper body rotations to the staccato sounds of composer Arvo Part. As the music changes to a smoother melody the dancers come together in a number of edgy and unexpected partnering skills. One minute Krohn and Angle are locked in an embrace and the next Krohn’s head is inches from the ground in a reverse penche arabesque.

 



#9 dirac

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Posted 23 August 2013 - 10:41 AM

Macleans republishes an interview with Svetlana Lunkina by John Fraser from earlier this year.

 

Like ballet, the circus is a big deal in Russia and has been for centuries. The “snake lady”—or contortionist—is a specialty reserved for young bodies of extra-special flexibility, with limbs and bones that can do extraordinary things. That is precisely one of the great gifts Lunkina is noted for on the stage. Through role after role—and she has danced most of the Russian classical repertoire to huge acclaim—it is her “plasticity” that is noted frequently. This is the quality that was coaxed out and developed through the intense relationship she had with her great mentor and teacher, the fabled Russian prima ballerina assoluta, Ekaterina Maximova.

 



#10 dirac

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Posted 23 August 2013 - 10:42 AM

An appraisal of the Bolshoi Ballet's  London season by Louse Levene in The Telegraph.

 

Zakharova was originally scheduled to dance the ballerina in George Balanchine’s Diamonds but returned to Moscow (citing an injury to dance partner Alexander Volchkov), thus leaving her rival the field. The critical response was ecstatic: “Fabulously gifted, thrilling to watch” (The Guardian); “Every movement feels luminously right” (New York Times).

 



#11 dirac

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Posted 23 August 2013 - 11:01 AM

A review of Jessica Lang Dance  by Carol Pardo for danceviewtimes.

 

The intentions of both "I.N.K." and "From Foreign Lands and People" were even more unintelligible. The former’s finest moment was its first when a dancer in black crawled onto the stage against a gray backdrop, her body and its shadow creating a new sleek species of algae. Thereafter Lang and the dancers were swallowed up by the video set by Sinichi Maruyama, all moving Rorschach blots—a lobster’s claw! A mantis’ jaw! Ribbons galore! An oil spill! Take your pick! The (literal) liquid sounds of the score by Jakub Ciupinski reinforced the sense of a dance swamped by its collaborators.

 



#12 dirac

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Posted 23 August 2013 - 11:09 AM

A feature on American dancer Maria Theresa Beck, recently graduated from the Bolshoi Academy.

 

When she returns to Russia next month, Beck will join Moscow’s Stanislavsky Theatre, another premier dance company. She’ll make a 40,000 rubles-a-month salary (equivalent to about $1,800 U.S.) while living in a free apartment in tony central Moscow and have the career that has consumed many girls’ fantasies the world over.

 



#13 dirac

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Posted 28 August 2013 - 11:25 AM

A fall arts preview by Allan Ulrich in The San Francisco Chronicle.

 

October

Smuin Ballet: The troupe launches its 20th season with the company premiere of Jirí Kylián's moody "Return to a Strange Land," revives choreographer-in-residence Amy Seiwert's "Dear Miss Cline" (Patsy) and exhumes Michael Smuin's "Carmina Burana." Oct. 4-12. Palace of Fine Arts Theater, 3301 Lyon St., San Francisco. (415) 912-1899, www.smuinballet.org.

 




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