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Tuesday, October 8


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#1 dirac

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Posted 09 October 2013 - 02:43 PM

Connecticut Ballet presents "Cinderella."

This is the first time in its 32 years that the company is presenting three full-length productions for its Stamford season. After "Cinderella, the "Nutcracker" returns for two weekends in December and "Giselle" makes a comeback May 3 after a hiatus of 24 years.

 

"We've never done this before," Raphael said of the three productions. "But we are at a threshold moment, and we are ripe and ready."

 

 



#2 dirac

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Posted 09 October 2013 - 02:58 PM

A preview of American Repertory Ballet's "Romeo and Juliet" by Robert Johnson in The Star-Ledger.

 

Martin knows the music well, having starred as Romeo in the Joffrey Ballet’s celebrated production by the late John Cranko, and in two others. Although Prokofiev’s unconventional score initially puzzled his collaborators at the Bolshoi Ballet in Moscow, Martin says it isn’t hard to dance to. The choreographer has consulted with Princeton professor Simon Morrison, a Prokofiev specialist, yet has shied away from restoring the composer’s original outline (which included a happy ending), choosing instead to follow the standard version of the score in use since 1940. Martin says he has made slight cuts, eliminating some transitions and the "Folk Dance" that typically opens Act II.

 

 



#3 dirac

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Posted 09 October 2013 - 02:59 PM

The life of Frederic Franklin will be celebrated this month.

 

The memorial program includes film tributes and performances by several ballet companies with whom Franklin had close ties - including excerpts from Coppélia by Richmond Ballet and American Ballet Theatre, and Gaîté Parisienne by Tulsa Ballet. Luminaries including Arthur Mitchell, Ivan Nagy and Ben Stevenson will share their memories of the charismatic dancer and ballet master, who not only thrilled audiences but played a major role in ensuring the vitality of the art form across America, through his artistic direction of several regional companies, his sensitive staging of ballets both new and in revival, and his generous, spirited coaching of several generations of dancers.

 



#4 dirac

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Posted 09 October 2013 - 03:02 PM

A review of Fall for Dance's Program 4 by Leigh Witchel for danceviewtimes.

 

Liam Scarlett is young enough to be granted some absolution for using one of the most painfully overexposed scores of the late 20th century dance – Arvo Part's “Fratres.” Its vogue has subsided, although the tintinnabulation has not, but Scarlett's brief, eponymous encounter did have live cello and piano, and two Royal Ballet stars we rarely see on this side of the ocean, Zenaida Yanowsky and Rupert Pennefather.

Still a ballet to “Fratres” is a ballet to “Fratres”: the stage will be dark, the movement adagio and the dancers will wrap sinuously around one another in meaningful ways....

 



#5 dirac

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Posted 09 October 2013 - 03:12 PM

A review of the Smuin Ballet by Carla Escoda in The Huffington Post.

 

Set to recordings of 10 Patsy Cline songs, Dear Miss Cline is a riot, and more technically virtuosic than its breezy mood might suggest. Hints of swing waft through the piece; turns and jumps preserve their balletic impetus though their shapes are occasionally tweaked -- like the oft-flexed feet, which pointe shoes exaggerate to adorable effect. Many of the partnering holds are charmingly new-fangled, and ballet's lexicon of traveling steps are given a Country Western makeover: instead of beating the pointed feet neatly and tightly at the ankles during a jump, for example, flexed feet are shuffled frenziedly in the air.

 

 



#6 dirac

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Posted 09 October 2013 - 03:14 PM

An interview with William Forsythe by Roslyn Sulcas in The New York Times.

 

When Mr. Forsythe began to choreograph, he was 26 and a recent hire at the Stuttgart Ballet in Germany. Although he is American — he grew up on Long Island, began to study ballet in Florida, then trained at the Joffrey Ballet School — his entire professional career has been in Europe, and the great majority of his work hasn’t been seen in the United States. In 1984 he was appointed director of the Frankfurt Ballet, where, over 20 years, he created work that challenged and extended the parameters, codes and conventions of classical dance.

 



#7 dirac

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Posted 09 October 2013 - 03:16 PM

Indiana University honored Violette Verdy last weekend.

 

Verdy was awarded the medal in honor of the recent ballet for the IU Opera & Ballet Theater, “Classical Europe: Celebrating Violette.” Verdy choreographed one of the three dances in the piece

 



#8 dirac

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Posted 11 October 2013 - 02:29 PM

An update from Apollinaire Scherr in her blog, 'foot in mouth'.

 

So that's the start of my review on the Pita adaptation for the Australian web dance magazine Fjord Review, to which I will be contributing once a month on a show of my choosing that I am not reviewing for The Financial Times, where I continue to write regularly.

 

 




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