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Friday, October 11


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#1 dirac

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Posted 11 October 2013 - 01:57 PM

Oklahoma City Ballet opens its season this weekend. Video.

 

The company will stage the Southwestern premiere of “Mowgli, The Jungle Book Ballet” as its opening production of its 2013-14 season.

 

“Our audience is getting something that has only been performed once before, earlier this year in Oregon, but not only that, I don’t know that there’s another ballet that exists of this story. So it’s a pretty unique thing,” Oklahoma City Ballet Artistic Director Robert Mills told me in a recent interview.

 



#2 dirac

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Posted 11 October 2013 - 01:59 PM

Milwaukee Ballet enjoys increased attendance and a balanced budget.

 

"Swan Lake" was a high point of the season, recording a nearly sold-out run to finish the year.

 



#3 dirac

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Posted 11 October 2013 - 02:01 PM

A review of Carolina Ballet's season opener by Roy C. Dicks in The News & Observer.

 

Balanchine can be haunting, lyrical or joyous, but rarely funny. One exception is “À La Françaix,” in which a young girl flirts with sailors at a seaport but then falls for a handsome dandy, who pursues her until a winged ballerina appears out of nowhere to spirit him away. The humor was never overdone, aided by the winning expressions and body language of Jan Burkhard’s perky flirt, Yevgeny Shlapko’s debonair dandy and Alicia Fabry’s otherworldly sylph. Eugene C. Barnes III and Adam Schiffer made exuberant sailors.

 



#4 dirac

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Posted 11 October 2013 - 02:03 PM

A review of New York City Ballet.

 

When the pas de deux actually commences, the audience is prompted to fathom “the intimate relationship between dancers and musicians,” as explained during the pre-performance First Position Discussion. Thus, the dynamic duo periodically breaks to hear the sounds that guide their steps. In the organic “Duo Concertant” that permeates the bliss of dancing, the richer the violin plays, the more the couple melts into each other.

 



#5 dirac

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Posted 11 October 2013 - 02:08 PM

A piece on Misty Copeland, with a link to a longer interview and photo gallery for Vogue Italia.

 

Who is one of your biggest inspirations?

Raven Wilkinson. She was one of the first black ballerinas in the 1950s.  She’s a very close friend of mine. She lives a couple blocks away from me.  And every time we speak, either on the phone, or if she comes to a performance, or we go to lunch or dinner….I want to hold on to every single word that she has to say. It’s important for me to hear.  She’s so positive…having experienced so many more obstacles than I have…just being a black woman.  Just in general, not even just the things that come along with being a ballerina. Just dealing with racism and (other people’s) fear on top of it.  But she remains so happy, and so positive, and to want to help me and be there for me as a positive example….I don’t know what I’d do without her.

 

 



#6 dirac

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Posted 11 October 2013 - 02:10 PM

Northern Ballet kicks off the Christmas season early with "A Christmas Carol."

 

Memorable moments were some dazzling and graceful displays from Scrooge (Sebastian Loe) and Bob Cratchit (Javier Torres), a great comedic piece from the Fezziwigs (Ashley Dixon and Victoria Sibson) and a show-stealing song from Tiny Tim (little Leo Spencer from the Central School of Dance and Performing Arts).

 



#7 dirac

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Posted 11 October 2013 - 02:16 PM

An interview with Alina Cojocaru.

 

Cojocaru’s soft-spoken strictures follow a long line of frustrated departures from the Royal Ballet by its great stars – as she points out. “Sylvie Guillem, Alessandra Ferri, Viviana Durante – wonderful, wonderful artists when I joined. One by one they left.”

 



#8 dirac

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Posted 11 October 2013 - 02:34 PM

A review of New York City Ballet by Carol Pardo for danceviewtimes.

 

Jerome Robbins’ "The Four Seasons" is a far dancier and hardier ballet than the Wheeldon, here given a rather subdued performance. Debutants hadn’t quite settled in their roles. Both Adrian Danchig-Waring, new to the ballet, and Andrew Veyette, an old hand, looked uncomfortable in theirs. The cavalier in ‘Summer’ is expected to be both sinuous and sensuous. Danchig-Waring looked ill at ease departing from pure classical plumb. In ‘Fall’ Veyette attacked his big jumps too forcefully but was right at home when turning, if visibly uncomfortable throughout in his little red chiton, like a star quarterback at a frat costume party. The balletalways sends ‘em home happy, but here the pleasure came not from the performances, but from Robbins’ sure sense of structure and theater. "The Four Seasons" is usually more fun.

 



#9 dirac

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Posted 11 October 2013 - 02:35 PM

A review of Fall for Dance's Program Two by Kathleen O'Connell for danceviewtimes.

 

The program closed with Dance Theatre of Harlem’s performance of "Gloria," a 2012 ballet by the company’s resident choreographer, Robert Garland. Set to the much-loved Poulenc "Gloria," the straightforward, neoclassical work celebrated joyous faith with a light touch. Aside from a few moments of dance hall vernacular, Garland was loyal to ballet’s core vocabulary. He was loyal to its traditional hierarchy, as well. The couple at the center of the work’s story of faith and grace led a clearly defined community: two soloist couples, a corps of eight, and seven young girls from the company’s school.

 



#10 dirac

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Posted 12 October 2013 - 02:42 PM

A review of the Mariinsky Orchestra in a program featuring Stravinsky ballet scores by Corinna da Fonseca-Wollheim in The New York Times.

 

The program featured all three ballet scores Stravinsky wrote for the Ballets Russes in Paris: the complete “Firebird,” in the original 1910 version; “Pétrouchka,” completed in 1911; and “The Rite of Spring.” That’s a heavy workload for a single concert. The Mariinsky players, who return to Carnegie Hall with a different program on Tuesday, showed impressive stamina and vigor. Mr. Gergiev’s interpretation often felt episodic — he clearly cares more about some sections of the music than others — but included memorable moments of high-octane excitement.

 



#11 dirac

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Posted 14 October 2013 - 10:51 PM

A few ballet dancer anecdotes from history.

 

Emma Livry (1842 -1863) refused, diva-style, to treat her diaphanous costumes with flame retardant, a prudent precaution in the era of gaslight, when daily disasters were lamented as a "holocaust of ballet girls." Livry protested. "I cannot wear skirts that would be ugly, or that would not become me..." she said of the stiffened, yellowed effects of the fireproofing. One night she made a dramatic, premature entrance, her costume engulfed in flames from a backstage lamp. She died of her injuries.

 

 



#12 dirac

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Posted 14 October 2013 - 10:52 PM

Dancers from Tulsa Ballet travel to New York to appear in a tribute to Frederic Franklin.

Son and Rhee will be performing the final pas de deux from the ballet “Gaite Parisienne,” which was one of the signature ballets of Tulsa Ballet co-founder Moscelyne Larkin.

 

Tulsa Ballet is one of only a few companies asked to take part in this event, which will be presented at New York City’s LaGuardia High School for the Performing Arts.

 

 



#13 dirac

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Posted 14 October 2013 - 10:54 PM

A photo gallery of Northern Ballet's 'A Christmas Carol.'

 

A Christmas Carol, based on the book by Charles Dickens, combines traditional ballet and captivating theatre to tell the story of Ebenezer Scrooge and his magical night with three terrifying ghosts. Colourful sets and costumes by Olivier Award-winning Lez Brotherston conjure up a traditional Victorian Christmas, while the festive score blends classical music with carols, played live by Northern Ballet's Sinfonia and sung by the dancers. Scroll down for a sneak peek at the production!

 

 




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