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Saturday, November 2


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9 replies to this topic

#1 dirac

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Posted 03 November 2013 - 12:30 AM

A preview of City Ballet of San Diego's season opener by Pam Kragen in The San Diego Union-Tribune.

 

Wistrich said classics will always be the mainstay of City Ballet’s repertoire, but contemporary works invigorate and challenge the staff, dancers and audience.

 

“To have a really legitimate art form, you always want to take it to the next place,” said Wistrich, who founded City Ballet 21 years ago with his wife, Elizabeth, the company’s resident choreographer. “Choreographers want to stretch the art form. Otherwise it gets boring.”



#2 dirac

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Posted 03 November 2013 - 12:39 AM

A story on the opening of Pavel Dmitrichenko's trial by Roland Oliphant for The Telegraph.
 

 

“He’s feeling just fine,” Mr Kadyrov said. “Dmitrichenko says he committed completely different acts with a completely different intention, that is, he pleads not guilty to this crime.”

 

As the dancer was led away friends gathered in the corridor shouted, “We’re with you Pasha!” - his nickname. He will be in need of that moral support. Russian courts have a conviction rate of 99 percent.

 



#3 dirac

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Posted 03 November 2013 - 12:43 AM

A preview of Ballet West's season opener by Heather Hayes in The Deseret News.

“This was one of my dad’s signature roles,” he [Christopher Ruud] says of Tomm Ruud, who passed away in 1994 at age 50. “I consider it a gift to follow in his footsteps, and hopefully to make some of my own footsteps along the way.”

 

Ballet West will kick off its 50th anniversary celebration by revisiting founder Willam Christensen’s “The Firebird.” Set to a sparkling Stravinsky score, the production was last performed in 1980.

 



#4 dirac

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Posted 03 November 2013 - 12:47 AM

A review of the Milwaukee Ballet in 'Cinderella' by Peggy Sue Dunigan for Broadway World.

 

Technically, the pair completely marries in thier exquisite lifts and delicate moves. San Miguel, wearing primarily white when the two lovers dance, often a translucent flowing slip or beaded dress, transforms into what appears as a fluid white ribbon Hovhannisyan caresses and wraps around his body and into his arms. Innovative lifts in their pas de deux impress the audience with athleticism and grace, appearing almost effortless. Intricate and lovely choreography on their secret wedding night tell the story far more sensually that words. All the while, San Miguel mesmerizes her audience with her acting and dancing in this ballet, inhabiting the essence of the young teenage girl she actually plays.

 



#5 dirac

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Posted 03 November 2013 - 12:49 AM

The Tchaikovsky Perm State Ballet prepares for a visit to Ireland.
 

 

Miroshnichenko can be forgiven for being distracted. As artistic director of the Tchaikovsky Perm State Ballet, he is immersed in choreographing Chout, a ballet by Prokofiev that has not been performed in full since the 1920s. (His production of it premieres in Madrid this week.)

 

Miroshnichenko is a dark, intense, athletic 39-year-old. His office is one of dozens of rooms off the labyrinth of corridors that surround the main auditorium of the Perm Tchaikovsky Opera and Ballet Theatre. From here he negotiates the daily challenges of leading one of Russia’s most famous ballet schools.

 



#6 dirac

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Posted 03 November 2013 - 12:54 AM

A review of Carlos Acosta's "Pig's Foot" by Ian Thomson in The Spectator.

 

The novel, very nicely translated by Frank Wynne, conjures the salt-eaten arcades and collapsing promenades of Havana wonderfully. If the plot is a little hard at times to follow, Acosta makes up for this with a host of sharply drawn characters, ranging from the real-life rum magnate Emilio Bacardi to a Gargantuan bruiser nicknamed El Mozambique (who likes to hack the legs off horses with a machete).

 



#7 dirac

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Posted 04 November 2013 - 01:49 PM

A review of the Alabama Ballet by Michael Huebner in The Birmingham News.

Fourteen years after its premiere, Alabama Ballet's “Dr. Jekyll and Mr. Hyde” has proven that it is worthy of revival.

 

Originally produced in October of 1999 and again in 2008, it forms the perfect balance that makes classical ballet classical – a cogent narrative, an original score, big ensemble numbers, elegant pas de deux, sex and violence, even some comic relief amid the horror of Robert Louis Stevenson's freaky dual-personality tale.



#8 dirac

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Posted 04 November 2013 - 02:01 PM

A story on the revival of Dance Theatre of Harlem by Susan Reiter in The Los Angeles Times.

Working closely with Johnson is executive director Laveen Naidu, a former company member, choreographer and director of the DTH School. Also a graduate of Harvard Business School's executive leadership program, he became executive director shortly after the dancers were furloughed, so he's well versed in the complex ups and downs of those difficult years.

 

"The early thoughts were that we could return the company as we knew it," he said recently by phone from his office. "We found out very quickly that was not going to be possible. So as an institution, we had to do a lot of rethinking — really taking a good, solid, outward focus into the industry and saying: 'What's the right size of company that we need? What kind of artistic voice that would really continue to place DTH in this unique position and continue its legacy?'"

 



#9 dirac

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Posted 04 November 2013 - 02:04 PM

Irish dancer Zoe Ashe-Browne talks about a ballet dancer's life.

People assume all ballet dancers come from upper-middle-class backgrounds. That's not true. With the English National Ballet, if you have the talent, they will find a way for you to study there. I was supported financially with a grant from the Gordon Edwards Charitable Trust.

 

Dancers have to have a thick skin. You get told to lose weight. You get told you haven't a very good jump. The teachers will always play favourites. They'll say things to you as though you've offended them, when really it's just a matter of fact. You have to take their instructions literally and not get upset.

 



#10 dirac

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Posted 04 November 2013 - 02:06 PM

An interview with the makers of a new documentary about Houston Ballet, "Houston Ballet:  Breaking Boundaries."

 

The film treats his three predecessors and successor with equal respect, loosely built into sections focused on each era: Tatiana Semenova, who died in 1996, founded the school in 1955. Nina Popova, who's 92, established the professional company in 1968. James Clouser, interim director in 1975 and 1976, introduced contemporary ideas. Stanton Welch has guided the company since 2003, aiming to keep it a choreographer's dream place and leading it into what he calls "another golden age."

 




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