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Wednesday, October 16


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9 replies to this topic

#1 dirac

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Posted 16 October 2013 - 08:52 PM

A review of "Matthew Bourne's Sleeping Beauty"  by Tresca Weinstein in The Albany Times Union.

 

Bourne’s addition of a love story to the work is perhaps the strongest part of the show. There’s a sweet, playful scene in Aurora’s bedroom, with Leo ducking behind curtains and under the bed as her servants and parents come and go. Aurora (Hannah Vassallo) is a far cry from a stereotypical princess; not demure at all, she leaps with gusto into Leo’s arms.

 

 



#2 dirac

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Posted 16 October 2013 - 08:54 PM

Katia Garza is leaving Orlando Ballet.

Garza says she was asked to "retire" from the company; Hill's statement did not address the reasons for her departure. Both, however, say she was offered a full-time teaching position with Orlando Ballet School.

 

She declined the offer.

 



#3 dirac

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Posted 16 October 2013 - 08:57 PM

San Diego Ballet  performs this month.

 

As a San Diego native, it is important to Javier to create pieces for people who live in the area. “Sometimes we do something familiar and sometimes we try to expand their horizons,” said Velasco, “but our performances are always directed toward a Southern California sensibility. Though, we do story ballets and full length ballets, we also do pieces to contemporary music like salsa, mambo and even some country western.”

 



#4 dirac

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Posted 16 October 2013 - 08:59 PM

Judith Mackrell asks if critics should review first nights at the ballet.

 

It's a tricky issue, however. The tradition of the first night review is very strong in ballet – audiences, newspaper editors and readers all seem to want it – and anyone paying for a ticket at the Opera House should surely expect that both performances and production are ready for a professional verdict. On the other hand, if there are problems on stage that are clearly temporary then it would be overly harsh to make them the focus of a review. It's also part of a critic's job to understand the pressures under which new shows are created and to make a judgment call about how they're likely to look once they're settled on the stage.

 



#5 dirac

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Posted 16 October 2013 - 09:05 PM

A review of the American Repertory Ballet in "Romeo and Juliet" by Marina Kennedy for Broadway World.

With costume design by Michele Ferranti and full staging, the show was breathtaking from the very first moment.

 

The Rutgers Symphony Orchestra, conducted by Kynan Johns, performed Sergei Prokofiev's beautiful score flawlessly and proved to be a splendid collaboration with the ARB.

 



#6 dirac

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Posted 16 October 2013 - 09:10 PM

Reviews of the Birmingham Royal Ballet.

 

The Financial Times

 

In everything, the programme is a logical and honourable continuation of the traditions of our national ballet. Standards of dancing may be less gleaming than at Covent Garden – though without imported artists neither troupe seems able to cope with its repertory – yet, watching BRB, I sensed the essential links with those historic and inevitable ideals that should distinguish our national troupe (which I have watched and deeply loved for much of its existence) and increasingly seem forgotten or ignored at Covent Garden.

 

 

The Guardian

E=mc² seemed to come from nowhere in 2009, with Matthew Hindson's score and Bintley's ambitious imagining of the classic Einstein equation in pure dance.

Its first two sections are especially fine. Energy, the first, is clamorous with activity, its dancers clustered into configurations whose density explodes in one extended starburst of a pas de deux....

 

 

Londonist

 

Tombeaux was originally created for the Royal Ballet, and is a lament for both Bintley’s choreographic idol Frederick Ashton and for the state of British ballet itself. With lush stage design by Jasper Conran, the piece is a respectful, carefully-crafted elegy to the Ashton style; those who love Ashton will therefore probably enjoy it.

 

 



#7 dirac

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Posted 16 October 2013 - 09:12 PM

A review of Carolina Ballet by Lightsey Darst in The Independent Weekly.

 

But even here the past persists. Rubies, like Raymonda, features a royal couple and their symmetrical court, plus a spare princess; the couple can be inconsequentially cute, like those of The Steadfast Tin Soldier or À la Françaix, and the princess' jazz rebellion stays in bounds. Whether you see a bold reinvention springing free from a classical armature or a weary warhorse with up-to-date trappings depends very much on what you've been primed to see—and in this program, I'm afraid, it's mostly the latter.

 



#8 dirac

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Posted 16 October 2013 - 09:16 PM

Mikhail Baryshnikov protests a law recently passed in Russia prohibiting the "promotion of non-traditional sexual orientations among minors."

 

"My life has been immensely enriched by gay mentors, colleagues and friends and any discrimination and persecution of gay people is unacceptable,” Baryshnikov said in a statement published on the website of the No More Fear Foundation gay rights advocacy group.

 



#9 dirac

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Posted 17 October 2013 - 10:04 AM

A review of the Birmingham Royal Ballet  by Ismene Brown in The Arts Desk.

 

All well and good, but Bintley could – should – have been a contender. His work for BRB has been sterling, some brilliant. But tucked away in Birmingham, he has had neither the resources that London would have given, nor, sadly, the wider critical esteem, the recognition that is due to this major talent from those outside his own art-form.

 

 



#10 dirac

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Posted 17 October 2013 - 08:53 PM

Q&A with Margaret Atwood on "The Handmaid's Tale" and the new RWB ballet.
 

Q: What kind of riders or terms do you put forward in an arrangement like that — do you say you will have any control over what they create?

 

A: No, you can’t. You can take your name off of it. It’s a bit like a film. In any of those deals, you have to trust the people doing it, so you try to make sure that it is someone you have confidence in. That means you actually say no to a number of things. And then you just have to let them run with it because it’s their art form.

 

I’m not a choreographer. I was bad at ballet — I got dizzy. I have great admiration for people who can do it, but I’m not one of those people.

 

 




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