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Friday, September 20

13 posts in this topic

Pix from New York City Ballet's gala.

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Natalie Portman shone on the red carpet at the New York City Ballet Fall Gala alongside her dashing French husband Benjamin Millepied.

US

Tres belle, Natalie Portman! The Black Swan actress attended the swanky New York City Ballet Fall Gala on Thursday, Sept. 19, and absolutely stunned on the red carpet. No small feat, considering the other high-caliber stylish stars she mingled with that night -- fashion veterans Sarah Jessica Parker and Drew Barrymore!

Elle

The evening's supporters included Natalie Portman, Drew Barrymore, Martha Stewart, Doutzen Kroes, and Tory Burch. The latter attended in a vintage Yves Saint Laurent gown and revealed that she hasn't worn it since high school. Parker, the chair of the event, was the mastermind behind pairing the two designers, as well as Iris van Herpen, each with a choreographer to create costumes for opening night. Her hope was to stoke interest in a new audience.

The Wall Street Journal

Before each ballet, there was a short documentary chronicling the collaborations, boiling down to, in effect, the meeting of the flamboyant fashion culture with an often stricter, more classical performance art. "They were wonderful films, weren't they?" asked the cabaret singer Karen Akers, over a dinner after the ballet in the theater's atrium, which was decorated with, for whatever reason, large-scale hot-air balloons.

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Reviews of the performance.

The New York Times

For the second year in a row, New York City Ballet has allied with high fashion for its fall gala. Last time, the costume designs were by Valentino, and the reviews of the event mostly described it as an artistic fiasco or insignificant. (I missed it.) By those standards, this recent program, at the David H. Koch Theater on Thursday, was a vast improvement. Only one part of the evening was apt to give you bad dreams.

The New York Post

French choreographer Angelin Preljocaj teamed with the most famous designer of the night, Olivier Theyskens of Theory. Alas, their “Spectral Evidence,” inspired by the Salem witch trials, was a waste of the dancers.

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Mireille Hassenboehler retires from Houston Ballet.

She still has the mark of a Ben Stevenson-trained ballerina, with a regal, British-school - yes, old-school - posture. Plenty of other dancers in the company today were there when Stevenson left his long-time post as artistic director a decade ago, but Hassenboehler has maintained more of his classical religion. With subtle body language, she can be grandly imperious or beguilingly elegant.

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A review of Houston Ballet in "The Merry Widow" by David Clarke for Broadway World.

Danilo, danced by Linnar Looris, gave this Houston favorite an opportunity to illustrate a range of skills I'm not used to see him perform. In my experiences at the Houston Ballet, Linnar Looris has typically been cast in a character role, often making audiences giggle and laugh with absurd and outlandish actions. He showcases his ability for this aspect of performance during his intoxicated first appearance; however, he shines brightly as the romantic male lead too. He intoxicates the audience with striking fluidity and regal charisma.

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New York Social Diary pix and notes on the dinner held last week in honor of Benjamin Millepied.

On Monday a week ago, the American Friends of the Paris Opera and Ballet, the Consul General of France in New York Bertrand Lortholary and Vacheron Constantin hosted a dinner in the beautiful salons of the New York French Consulate in honor of Benjamin Millepied and his new position at the head of the Paris Opera Ballet. The evening brought together 80 close friends and artists for a magical and surprise performance.

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The Fort Wayne Ballet kicks off its fifty-eighth season.

Concluding the evening is Ingram’s “Big Band” ballet, which will be accompanied with live music from the Hope Arthur Orchestra. Although Ingram has been working on the concept for almost three months, contributions by Gibbons-Brown and his fellow dancers have brought the idea into fruition.

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An interview with director and choreographer Ray Kennedy.

'I agree with Agnes de Mille that the Dream Ballet gives us (the audience) a chance to get in to Lori's mind. The Dream Ballet is a vehicle to learn more about Lori. When choreographing the Dream Ballet my intention was to stay clear with the story even down to the postcards (of the french saloon women) that come to life. The dancing was not about how many a la seconde turns the dancers could execute.'

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Ten artists of the dance world are profiled in The New York Times.

It’s hard to imagine that he won’t be promoted to a principal here soon. In Ballet Theater’s 2013 season at the Metropolitan Opera House, [James Whiteside] danced the heroes of four of its seven full-length ballets: Basilio in “Don Quixote,” Romeo in “Romeo and Juliet,” Prince Siegfried in “Swan Lake” and Prince Désiré in “The Sleeping Beauty.” Not only that, but as the troubled artist-hero of Alexei Ratmansky’s new “Chamber Symphony,” he was cast second to the celebrated David Hallberg but gave the more imposing performance.

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A preview of Pacific Northwest Ballet's new all-Tharp program by Hanna Brooks Olsen for KOMO News.

"This is the biggest piece that she’s made on us," explains Boal, adding that "it’s a cast of 21, and then there’s a whole second cast."

Size isn't all that matters for this powerhouse piece, though -- in addition to the New Orleans-inspired R&B music, details like sets and vintage costumes by Academy Award nominee Santo Loquasto make the movement truly stunning.

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An interview with Daniel Jaber of Australian Dance Theatre.

Jaber says attending performances a few years ago of Forsythe’s In the Middle, Somewhat Elevated and Jiri Kylian’s Bella Figura gave him the courage to pursue choreography on his own terms.

“I’m still obsessed with ballet,” he says. “It was a struggle for a while because I thought perhaps I’m not very interesting. That’s partly to do with the fact that the contemporary dance world can be quite critical...."

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Sarah Crompton pays a visit to White Lodge and views an exhibit honoring Rudolf Nureyev.

At White Lodge, the past breathes from the walls and mixes with the present. The small on-site museum – usually open by appointment only – emphasises this continuity. In one display, a film of pupils in the Seventies is contrasted with footage of their lives today: the similarities are staggering.

Among the black-and-white photographs, the letters, the drawers which open to reveal old dancing shoes, is a tiny tribute to Rudolf Nureyev, who died 20 years ago this year. There is a picture of him surrounded by smiling pupils recruited to be the children in his version of The Nutcracker.

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A review of "The Metamorphosis" by Robert Johnson in The Star-Ledger.

Choreographer and director Arthur Pita downplays Kafka’s critique of capitalism: Pita doesn’t have Samsa’s infirm parents and baby sister take part-time jobs. Yet this middle-class trio still courts penury when their loyal breadwinner turns into a shameful family secret. Desperate, they ignore the obvious risks and bring in lodgers. We watch them wrestle with their own humanity as they become caregivers to a person whose illness has rendered him grotesque and unable to communicate. Samsa’s predicament offers a sorry preview of our own, inevitable corruption, as pitiless nature scoffs at our timetables and human pride.

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A story on the New York City Ballet's filmed tribute to 9/11 by Rheana Murray in The New York Daily News. Video.

That night in Parma, ballet chief Peter Martins took the stage at the Teatro Reggio to tell the audience dancers could not perform.

“We came here to dance, it is what we do, but our hearts are breaking and it is simply not possible for us to perform this evening,” he said. “But we will be back tomorrow, and we will be honored to perform for all of you then.”


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