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Tuesday, September 3


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#1 dirac

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Posted 03 September 2013 - 10:38 AM

The Australian Ballet launches its new season.

 

Broadway World (with video)

 

"It's also an opportunity to showcase the versatility and artistry of our dancers, who can't wait to sink their teeth into this season - with roles like Manon, Clara and Solor in the mix! And personally I'm delighted with the diversity and artistic depth of the 2014 program."

 

 

The Herald Sun

 

Melbourne audiences will also be able to see Bodytorque for the first time. The dynamic program of new works created by some of Australia's most dynamic choreographers has been delighting Sydney audiences for the last 10 years but finally comes to Melbourne next year.

 



#2 dirac

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Posted 03 September 2013 - 10:45 AM

A piece on the considerations involved in preserving ballet choreography over time by Stephen Campanella for Broadway  World.

 

Assuming that a definitive version can even be found, it is important to remember that over time, the ideals of aesthetics and technique change for both dancers and audiences. As a student in Tours, France, I once saw a production of Racine's Andromaque, a favorite play of mine. The company that produced it specialized in performing 17th century French neoclassical work as it would have been performed in that era, in terms of pace, pronunciation, and costuming. It was one of the only times I have ever left a show early. Everything was so highly stylized as to be incomprehensible, even ridiculous, to the modern eye and ear; the result sacrificed substance for presentation. Likewise, seeing dancers turn on quarter pointe (that is to say having the heel of the standing foot barely off the ground) with the working toe touching the standing leg in the middle of the shin as was common practice in the 19th and the first half of the 20th century would look completely outdated today......

 



#3 dirac

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Posted 03 September 2013 - 10:48 AM

Angelin Preljocaj  makes a new work for New York City Ballet.

 

The new work for NYCB falls firmly into the plotless category. Still, the ballet’s ambience was influenced by a powerful historical incident—namely, the 1692 Salem witch trials where spectral evidence, gleaned in the dreams of the accusers, resulted in the death of innocent women. “When I heard the Cage music, my imagination went to that strange moment in time,” Preljocaj says.

 



#4 dirac

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Posted 04 September 2013 - 01:21 PM

David Koch makes a contribution to a Joe Lhota PAC.

 

David Koch is a different figure within New York City than he is nationally. For one thing, he lives here, on the Upper East Side, so he's not an interloper in our politics. He's also a major supporter of New York City cultural institutions. The New York City Ballet performs in the David H. Koch theater. The construction you can see in front of the Metropolitan Museum of Art right now is a $60 million plaza upgrade that Koch is paying for. All of which is to say, among the city's wealthy liberal elites, his name is probably not as toxic as it might be in Los Angeles. But rank-and-file general election voters are likely to be put off by the Koch name and not care much about the stairs in front of the Met.

 



#5 dirac

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Posted 04 September 2013 - 01:43 PM

The Royal New Zealand Ballet  produces a new book on the occation of the company's sixtieth anniversary.

The book is divided into four main sections, with over 50 contributors. Part one is an overview of the company, which reveals the interesting observation that only two New Zealanders have served as Artistic Directors for the company so far (Russell Kerr and Bryan Ashbridge); the current Artistic Director, Ethan Stiefel, is the second American to be in charge.

 

Much of the book is in the form of personal stories, collected memories and opinions. There is an excellent, extended opening chapter, a biography of the Royal New Zealand Ballet’s first Artistic Director, Poul Gnatt, which looks at his Danish heritage and the extensive Danish influence at that time on the company (continued later under successive Artistic Directors).

 



#6 dirac

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Posted 04 September 2013 - 01:47 PM

A review of the Australian Ballet by Heather Bloom for Australian Stage.

 

 Magnificent costumes add to the ethereal beauty of the Sylphide. and Anne Fraser should be commended for her costume and set design which pull the entire performance together.

An incredible score by Herman Lovenskiod and choreography by Erik Bruhn after August Bournoville, La Sylphide is simply a magical encounter with the Australian Ballet’s exceptional dancers.

 



#7 dirac

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Posted 04 September 2013 - 01:49 PM

Another preview of the Australian Ballet's new season.

 

Cinderella swaps her rags for 1930s surrealism in a brand new production by Alexei Ratmansky, resident choreographer of the American Ballet Theatre, that will receive its world premiere in a few weeks time. Designed by French master Jérôme Kaplan, Prokofiev’s glittering score continues to offer an evening of wonder and delight for audiences both young and old. The ballet will be seen next year in Adelaide.

 



#8 dirac

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Posted 04 September 2013 - 01:56 PM

A review of the Hong Kong Ballet by Natasha Rogai in The South China Morning Post.

The Hong Kong Ballet has brought back John Meehan's 2007 production of Swan Lake for an extended run of 10 shows over two weekends.

 

Only possible in this city with hugely popular ballets, this is a vital opportunity to give more dancers experience in major classical roles. This was illustrated by Ye Feifei as Odette/Odile and Wei Wei as Prince Siegfried, both of whom are dancing these roles for the first time. Ye has appeared as the virtuoso Odile, a natural casting for a dancer of her tremendous technical strength.

 




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