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Thursday, October 3


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#1 dirac

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Posted 03 October 2013 - 01:34 PM

The dispute between dancers and management at San Francisco Ballet is settled.

 

“There are some minor bureaucratic things but it’s essentially a done deal,” he said. “The problem in all ballet companies is that the orchestra members get paid more money than dancers, usually significantly more,” he said. The San Francisco dancers wanted the company to begin to address the disparities in compensation, he said, which they did.

 

 



#2 dirac

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Posted 03 October 2013 - 01:36 PM

A review of "Matthew Bourne's Sleeping Beauty" by Zachary Lewis in The Plain Dealer.

Though muddled in spots, and loose in its handling of Tchaikovsky’s score, the lavish production by the dance company New Adventures kicking off the KeyBank Broadway Series amounts to a spectacle that’s both entertaining and intriguing.

 

First off: Ballet it is not. Bourne, the British choreographer known for his reimaginings of canonic works, may have begun with Marius Petipa’s original, but he ended up with a piece of modern dance theater.

 

 



#3 dirac

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Posted 03 October 2013 - 01:38 PM

Moscow Ballet - La Classique presents "The Sleeping Beauty."

 

The company was founded in 1990, drawing dancers from leading theatres in the former Soviet republics as well as the Bolshoi, Kirov and Ballet Theatres of Kiev and Odessa, and has gained international acclaim.

 



#4 dirac

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Posted 03 October 2013 - 01:42 PM

The Cairo Opera House celebrates its twenty-fifth anniversary.

 

The operatic history of Egypt is 150 years old, touching the days when Giuseppe Verdi composed the famed opera Aida. Today, replacing the area which served as exhibition ground until the late 1980s, the crème-coloured new building standing in Cairo's Zamalek district also has tales to tell about its quarter-century-long history.

 

 



#5 dirac

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Posted 04 October 2013 - 08:10 PM

A review of "Matthew  Bourne's Swan Lake" by Kerry Clawson in The Akron Beacon Journal.

 

I’ve never seen a heroine so manipulated through dance, as the blindfolded Aurora is lifted, carried and moved by two male, bare-chested sleepwalkers in short white pants. Later, as Caradoc tries to wake her, Vassallo’s body is wonderfully rubbery as he tries to pose her and make her walk, only to have her slump lifelessly.

 

 



#6 dirac

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Posted 04 October 2013 - 08:16 PM

The Bolshoi Ballet comes to Saratoga next year.

 

After decades of focusing dance programming on three-week residencies by the New York City Ballet, SPAC in the past few years has brought in other companies as rising costs have forced City Ballet to cut back its stays in Saratoga Springs Next year, City Ballet will perform for one week, as it did this past summer. Rounding out the 2014 dance calendar will be Momix, the contemporary dance-illusion troupe that had its SPAC premiere two months ago.

 



#7 dirac

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Posted 04 October 2013 - 08:20 PM

Nevada Ballet Theatre and Cirque du Soleil collaborate on "A Choreographers' Showcase."

After all, the Cirque du Soleil audience doesn’t necessarily attend NBT performances, and vice versa, Kasten points out, so the showcase represents “a great connection for both.”

 

Aspiring showcase choreographers submitted applications to the companies’ respective artistic directors (NBT’s Canfield and “Mystere’s” Gomez) for consideration, outlining their ideas.

 



#8 dirac

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Posted 04 October 2013 - 08:23 PM

A review of "Fall for Dance" by Alastair Macaulay in The New York Times.

 

One day, someone will present a festival composed solely of all the 21st-century dances — and films — that use Arvo Pärt’s “Fratres” or “Spiegel im Spiegel,” or both. The latest is Mr. Scarlett’s. This British choreographer, still in his 20s, has risen to international fame with remarkable speed; he has a number of Royal Ballet and Miami City Ballet commissions behind him already, and a New York City Ballet one lined up for Jan. 31. He’s attempting several genres. But in tackling “Fratres,” he’s handling music that to many dancegoers feels like a cliché; fortunately, on Wednesday, it was rivetingly played onstage by Kate Shipway (on piano) and Peter Adams (on cello).

 

It was also rivetingly danced by the Royal Ballet’s Zenaida Yanowsky and Rupert Pennefather....

 



#9 dirac

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Posted 04 October 2013 - 08:40 PM

Jennifer Homans writes on "The Crisis in Contemporary Ballet" in The New Republic.

 

Millepied is not alone. Many choreographers today are preoccupied with form and with pedestrian movement, with improvisation and “process” over set performances. In Brussels, Anna Teresa de Keersmaeker, founder of the company Rosas in Belgium and a prominent figure on the European dance scene, has based the training at her prestigious and impressive school P.A.R.T.S. on two pillars: ballet and the release-techniques and practices that grew out of the Judson Church movement. Physically and intellectually, this makes some sense—ballet is the base, the rules, the linear symmetries that postmodern choreographies undo—and indeed the idea recalls the earlier work of Lucinda Childs (another Judson Churcher) and others who found a similar affinity for ballet, even as they also opposed it. A revival last year of Robert Wilson’s Einstein on the Beach with Childs’s beautiful and translucent dances—pure, non-narrative, balletic in their formal arrangements—was a reminder of the power of this kind of thinking and dancing.

 



#10 dirac

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Posted 04 October 2013 - 08:45 PM

Q&A with Miyouki Jego, director of the Richmond Youth Dance Company.
 

 

10. Goal for Richmond Youth Dance Company? “To attain a professional quality of dance but to still maintain an inviting and nurturing environment for the students.”

 

11. Where in the world do dancers have the most opportunities? “Many of my colleagues and former classmates have danced professionally in Europe, U.S, and some are still dancing with the Royal Winnipeg Ballet. It is a very competitive field.”

 



#11 dirac

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Posted 04 October 2013 - 08:49 PM

Indiana University honors Violette Verdy.
 

 

Upon her retirement, she served as director of both the Paris Opera Ballet and the Boston Ballet and taught at the New York City Ballet before joining the IU faculty in 1996.

Verdy is the choreographer of “Variations for Eight,” one of three ballets, along with Nicolo Fonte’s “Left Unsaid” and Balanchine’s “Divertimento No. 15,” in the fall program.

 

 



#12 dirac

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Posted 04 October 2013 - 08:58 PM

Reviews of LA Dance Project at Sadler's Wells.

 

The Guardian

 

Millepied has established himself as a creator of fluent contemporary ballet, but in Reflections he seems to indulge his novice experimental alter ego. Featuring the minimalist piano music of David Lang and Barbara Kruger's strident white-on-red design, the work is a series of variations on meeting and loss. Within it are nuggets of real invention, such as a duet for two men whose bodies seem magnetically attached. But Millepied allows his ideas to meander out of focus, and it's hard to see their connecting logic.

 

 

The Telegraph

 

The triple bill opened with the UK premiere of Justin Peck’s Murder Ballads, a smooth, fresh-faced piece by a young New York City Ballet dancer who is beginning to make waves as a choreographer. To a score by The National’s guitarist Bryce Dessner, with starkly evocative lighting by Brandon Stirling Baker, which fills the stage with rich colour, he sets the cast gambolling and skipping as if at a hoe-down.

 

 

The Financial Times

 

Peck, a dancer with New York City Ballet, has already produced choreography that has won serious approval and, if this subtle piece is anything to go by, knows how to make dances born of their music, living easily in it. Bryce Dessner’s fascinating score is based on American ballads about murder, and I saw choreography of buoyant energy, with gesture sweetly and skilfully set within movement which sailed along with its music, lived in it, and engaged its cast in actions that sat happily, flatteringly on their bodies, and bothered not at all with a carrier-pigeon task as “messenger”. (The Millepied and Forsythe jaw-breakers on display had so much to say that there was no time for dance of any value or interest.)

 



#13 dirac

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Posted 05 October 2013 - 02:03 PM

An update in brief on the court case related to the attack on Sergei Filin.

 

The criminal charges filed as part of an inquiry into the acid attack on the Bolshoi Theater's artistic director Sergei Filin have been forwarded to the court, a spokesman for the Russian Prosecutor General's Office told Interfax on Thursday.

 



#14 dirac

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Posted 11 October 2013 - 02:41 PM

Q&A with Sarah Van Patten.

 

Time Out New York: How does he [Mark Morris] draw qualities out of you?
Sarah Van Patten: I think this is really important: When he works with a ballet company, he’s always on us about making sure we don’t add that extra ballet fluff. As I was saying with Alexei, he has a very pure, clean, simple approach—it’s all about how the simple movements go a long way. With Mark, it’s the same. So he brings out, I don’t want to say pedestrian [qualities], but he gets on us for little things. To run offstage, we do this big head motion, and he says to us: “Just run. Don’t get ready to run. Just go.” So things like that. You realize with a lot of older classical ballet, you have these isms, and he really tries to strip that and to just focus on the music, the movement and the dance. As he says, it’s added choreography. That’s good to always keep in mind.

 

 

 




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