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Wednesday, October 2


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#1 dirac

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Posted 02 October 2013 - 08:24 PM

A preview of Smuin Ballet's new mixed bill by Allan Ulrich in The San Francisco Chronicle.

That Kylián breeds contentment among dancers is only one reason why Smuin Ballet's artistic and executive director, Celia Fushille, has imported his work. That his dances are infrequently seen in the Bay Area is another. "But then, his style has influenced so many choreographers," says Fushille.

 

There's a training aspect to bringing in Kylián, too. "Dancers must be capable of mustering the rigor of ballet, while keeping a fluidity in the neck and arms," she says.

 



#2 dirac

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Posted 02 October 2013 - 08:25 PM

James Whiteside is promoted to principal at American Ballet Theatre.

 

The promotion will take effect on Oct. 30 — the night he is scheduled to dance the male lead of George Balanchine’s “Theme and Variations” at a gala to kick off the company’s fall season at the David H. Koch Theater at Lincoln Center.

 



#3 dirac

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Posted 02 October 2013 - 08:28 PM

A preview of Ballet West's Chicago engagement by Hedy Weiss in The Chicago Sun-Times.

 

“Yes, life has changed since all those cameras came in with ‘Breaking Pointe’,” Sklute admitted. “But it has certainly helped us in many ways. We were invited back to the Kennedy Center in Washington, D.C., and there is increased interest in touring engagements. We now have viewers in Germany, Australia, Finland and Singapore, where the show is aired. It has been a great boost to our institutional marketing. And the caliber of enrollment in our Academy has certainly seen a big jump.”

 



#4 dirac

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Posted 02 October 2013 - 08:29 PM

The Atlantic City Ballet hosts a benefit for the company's shoe fund.

 

A pair of ballet slippers costs $75, and a dancer can wear out a pair a week during the season, marketing manager Alexandria Pieroni said. So the regional ballet company is hosting a fundraising party to cover the footwear needs of 26 dancers for the 32-week season.

 



#5 dirac

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Posted 02 October 2013 - 08:33 PM

A review of the Royal Ballet in "Don Quixote" by Roslyn Sulcas in The New York Times.

 

But it does not suit the English, who don’t yet have the ballet’s loveably, almost campy, over-the-top spirit in their DNA. Apart from Mr. Acosta himself — and with an honorable exception for Itziar Mendizabal as the female gypsy leader — there is no scenery chewing, no excess, no ridiculously passionate exaggeration. A little vulgarity, particularly when the toreadors come marching in, wouldn’t go amiss here. (Ryoichi Hirano as their leader, Espada, showed promise, smirking self-satisfiedly at the audience and smoothing his hair, after his excellent Act 3 solo.)

 

 



#6 dirac

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Posted 02 October 2013 - 08:38 PM

A review of the Australian Ballet in "Cinderella" by Clive Paget for Limelight.

 

The first thing I noticed as I was ushered to my perch in the State Theatre’s orchestra pit was the vastness of the auditorium and my seeming insignificance therein. Wearing blacks for the occasion, with the audience’s focus clearly on the stage, there’s a reassuring anonymity. We might peer out, but few will take the time to peer in. As I looked up at the chattering folk above I felt distinctly ant-like in comparison. And I don't know why I'd assumed I would be able to watch the dancers as well since it immediately became clear that, along with the other musicians, I'd be listening blind.

 



#7 dirac

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Posted 02 October 2013 - 08:46 PM

More on yesterday's attack on James Fayette and five others in Riverside Park.

 

The New York Daily News

 

The courageous dad, one day after rescuing his 18-month-old son from a rampaging maniac in Riverside Park, recounted his surreal run-in with homeless attacker Julius James Graham.

"Julius had a bad look in his eye," Fayette told the Daily News from his hospital bed Wednesday morning. "He just wanted to do something bad. He wanted to hurt."

 

 

The New York Times

 

As he made his way into Riverside Park on Tuesday, witnesses said, Mr. Graham stood out even before the attacks because of his vacant stare and threatening posture.

But as far as Mr. Fayette knew, it was just a beautiful day to take his son for a walk, which he said he tries to do every morning.

 

 

NY1. Video.

 

"My husband's doing better, and we're hoping he's moved out of the ICU sometime today," Ringer said. "My son is, you know, he bounced back actually really fast. We're just really grateful. It could've been so much worse." - See more at:

 

 



#8 dirac

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Posted 02 October 2013 - 08:56 PM

A review of Pacific Northwest Ballet by Philippa Kiraly for The SunBreak.

 

Choreographically, the dancing in Station is perhaps easier than in Brief Fling. Here, with everyone in Isaac Mizrahi’s tartan and the music a mix of Percy Grainger and Michel Colombier, there are classical dance, modern moves, and incongruous comedic interludes that are fast and intricate and require exquisite control and balance. Kaori Nakamura floated in the most classical moves, her partner was guest artist Sascha Radetsky from American Ballet Theatre and Dutch National Ballet. The two were less synchronized than they could have been, particularly in contrast to the other two couples who were closely together throughout. A quartet of three men and a girl provided the humorous side, with corps dancer Leta Biasucci tossed around like an eel with extraordinary balance and recovery time, all done with grace.

 

 



#9 dirac

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Posted 03 October 2013 - 01:32 PM

A dispute between dancers of San Francisco Ballet and management threatens the company's New York visit.

 

The contract between the ballet and its dancers expired on June 30, and talks have turned heated. The dancers said in a statement that they are seeking “provisions that demonstrate a sufficient level of respect” and “protections against bullying by the artistic staff,” while the ballet said in its own statement that its most recent contract with its dancers made them “among the most highly compensated professional dancers in the country.”

 

 




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