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Thursday, October 31


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#1 dirac

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Posted 01 November 2013 - 04:24 AM

Reviews of American Ballet Theatre's opening night.

 

 The New York Times

 

All this is attractively present in Mr. Ratmansky’s new version, agreeably designed by Santo Loquasto with décor that shows changes of date, time, place and weather. Nothing here is radically novel, but there’s plenty of poetry, good taste and theatrical vigor.

 

 

danceviewtimes

 

Despite the delicacy of the plot summary, Ratmansky's choreography for Ariel (Daniil Simkin) and Caliban (Herman Cornejo) was magical.  Simkin flew through his variations with applause-generating leaps, but was no mere virtuoso.  There was feeling, purpose, and depth in his dancing, and his fluttering little movements as be begged Prospero for freedom in his opening solo were haunting.  His second solo, after Prospero had released him, was equally virtuosic, as he did jumps and spins never seen before, but he danced as if his soul were pushing him forward.

 

 

The New York Post

 

“The Tempest” really didn’t come alive until Joseph Gorak and Sarah Lane started dancing. As the young lovers Ferdinand and Miranda, they had the best choreography. The small, delicate Lane is an attractive ingénue, and Gorak, with his long legs and arched feet, is a star in the making. His slow, beautifully formed turns ended in eloquent extensions.

 

 



#2 dirac

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Posted 01 November 2013 - 04:25 AM

A story on ABT's opening night by Pia Catton in The Wall Street Journal.

 

The evening included the world premiere of Alexei Ratmansky's "The Tempest," which was also the inspiration for the gala dinner's décor by Bronson van Wyck. Upstairs in the theater's grand lobby, giant gray funnels hung from the ceiling against a backdrop of stormy seas. "They're cyclones," said Mr. van Wyck. "This is what the sorcerer created to cause the shipwreck and take his revenge."

 

 



#3 dirac

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Posted 01 November 2013 - 04:40 AM

A story on the new online documentary, city.ballet, with video clips.
 

 

Take a look at two exclusive clips from city.ballet below — one has ballet master in chief Peter Martins explaining the stakes, and the other shows Parker having a Carrie Bradshaw moment in a closet full of pointe shoes.



#4 dirac

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Posted 01 November 2013 - 04:46 AM

A story on the Suzanne Farrell Ballet's preparations for Mozartiana by Lisa Traiger in The Washington Post.

 

On a recent afternoon, Lauren and the other girls wait expectantly backstage to try on the sweet black dresses. In a room filled with racks of tulle, tutus and chiffon dresses, wardrobe mistress Dottie Cummings supervises the fittings of the Holly Hynes-designed costumes. Hynes based her costumes on those of her longtime mentor, Rouben Ter-Arutunian, who designed the original “Mozartiana” costumes with the double rows of old-fashioned buttons and hooks up the backs.

 



#5 dirac

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Posted 01 November 2013 - 04:48 AM

Cynthia Gregory helps Nevada Ballet Theatre prepare "A Tribute to Tchaikovsky."
 

 

“Swan Lake” made Gregory a star in 1967 when she danced the leading role with American Ballet Theatre, first on tour and then a few months later in New York, marking her emergence as a prima ballerina.

 

No wonder it’s her favorite ballet.

 

Even so, “I don’t want anybody to do what I did,” Gregory says during a post-rehearsal interview. “You should have a dialogue with yourself as you’re dancing. You have to have that in your head.”



#6 dirac

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Posted 01 November 2013 - 04:51 AM

Fashion pix from American Ballet Theatre's gala.

 

After the performances (and many rousing rounds of applause), guests headed upstairs where they entered a real-life tempest.  To create the effect of the stormy seas featured in the ballet, designer Bronson van Wyck installed a 180-foot hand painted mural and floor-to-ceiling tornados throughout the space. “These tornados are so cool!” designer Christian Siriano told InStyle.com.....

 

 

Slide show.

 

“Isn’t it funny?” Michelle Ochs said, thumbing her silver Pamela Love spiky earrings. Her date for the evening, soloist Isabella Boylston, was wearing the same pair. “We didn’t even plan that.” Cushnie et Ochs dressed the dancer for the evening, and Ochs went on to discuss her Halloween plans. “Carly [Cushnie] and myself are going with a bunch of our friends as the entire cast of ‘Alice in Wonderland.’ I’m the White Queen, Carly is going as Alice. I think this is my last year with Halloween, though; this is like the pinnacle of it.”

 

 

Related.



#7 dirac

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Posted 01 November 2013 - 04:56 AM

A review of Ballet, Inc. by Kristen Dickerson for Broadway World.

 

What a joy to attend the first fully staged performance for Ballet, Inc. This quirky ballet company blended ballet on pointe and contemporary/modern dance together to create a smooth and flowing movement. I loved how soft, yet commanding the movements were. The dancers' legs and arms were long, graceful, smooth, yet still sharp, creating an original style of contemporary dance on pointe. Their arms and legs flowed on and on, enhancing and embracing the quirky and eccentric choreography. The rounds in the choreography flowed like silk, moving seamlessly from dancer to dancer.

 



#8 dirac

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Posted 01 November 2013 - 04:58 AM

Ballet B.C.'s executive director joins a business mission to China.

 

The arts company has already been looking to China to and building Asian audiences with its presentation, earlier this year, of the National Ballet of China in its first performances in Canada with Swan Lake.

 



#9 dirac

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Posted 01 November 2013 - 05:03 AM

A preview of Grand Rapids Ballet Company's Dracula, with behind-the-scenes video.

 

Grand Rapids Ballet's revival includes the premiere of a newly arranged and re-recorded score by arranger and composer Chris Hansen.

 

The original soundtrack, using synthesized strings, piano and organ, was recorded more than 16 years ago. Hansen, of Grand Rapids, has re-mastered the soundtrack and filled out the orchestration with woodwinds, brass and timpani while preserving the original theater organ heard in the climax of the show.

 



#10 dirac

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Posted 01 November 2013 - 05:08 AM

Septime Webre "tweaks"  the Washington Ballet's Giselle to show off the men.

 

''Men in tights.'' Septime Webre laughs after he says that, the first thing that springs to mind when asked what's gay about The Washington Ballet's production of Giselle. But Webre is not, in fact, kidding. As the company's artistic director, Webre has actually increased the ballet's homoerotic appeal.

 



#11 dirac

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Posted 03 November 2013 - 12:44 AM

American Ballet Theatre will use a newly discovered orchestration by Benjamin Britten for an upcoming performance of "Les Sylphides."

 

The orchestration, which the company commissioned from Britten in 1941 for $300, had disappeared from recent performances of the ballet and was listed as “missing” in a catalog of Britten’s works. But after David Vaughan, the dance historian, asked what became of it, Ballet Theater unearthed a copy of the score  this summer at its warehouse in Secaucus, N.J.

 

 




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