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dirac

Monday, November 4

16 posts in this topic

A link to the first of 12 episodes of the new AOL web series, "city.ballet."

Welcome to the New York City Ballet, where competition is cutthroat, dancing is like breathing and Sarah Jessica Parker narrates everything.

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A story on the controversy over Nikolai Tsiskaridze's appointment to lead the Vaganova Ballet Academy by Roslyn Sulcas and Sophia Kishkovsky in The New York Times.

The decision has generated a storm of controversy, with major figures from the dance world, including the Mariinsky ballerina Diana Vishneva and the choreographer Alexei Ratmansky, protesting the decision, while Valery Gergiev, the conductor and artistic director of the Mariinsky Theater, has been accused of supporting Mr. Tsiskaridze in a move to gain control of the academy.

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Photos from a Washington Ballet fundraiser.

This week, photojournalist Rebecca D’Angelo went to the Washington Ballet’s “Unmask the Night: A Grande Masquerade Soiree”; proceeds support the company’s programming.

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An interview with the artistic director of the Shanghai Ballet Company, Xin Lili, by Theodore Bale for CultureMap Houston.

Xin seemed perfectly poised to answer my burning if somewhat naïve question, “What has changed in Chinese ballet in the last 40 years?” Her reply is significant.

“Now it is totally different,” she said. “Because at that time in our history, we had very few ballet productions, so everyone knew that one. Now the arts are for everybody, not just workers, farmers and soldiers. Now the arts have a very high position in China. Ballet is an excellent form to carry on the classical arts and gives us a very good international platform which the world is already familiar with...."

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A review of Ballet Idaho by Dana Oland in The Idaho Statesman.

The company is developing a depth of talent in its ranks from the soloists to the corps men and women — everyone danced well.

“Akimbo,” a ballet by San Francisco-based choreographer Charles Anderson, who danced for Balanchine for more than a decade in New York City Ballet, offered some lovely echoes of Balanchine’s masterwork.

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A review of Tulsa Ballet in Wheeldon's "A Midsummer Night's Dream" by James D. Watts Jr. for Tulsa World.

From the opening prologue, which showed what fools the four mortals in this story could be, to the stately serene pas de deux that brings it all to a "happily ever after" conclusion, the Tulsa Ballet dancers put on an impressive show.

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A review of American Ballet Theatre in 'Bach Partita' by Apollinaire Scherr in The Financial Times.

http://www.ft.com/cms/s/2/255effc0-453c-11e3-b98b-00144feabdc0.html#ixzz2jiSJEPBK

Still, the overall impression is not of chaos but of structure – its growing and lapsing. Just as much as the D minor partita is an essay on the violin – the human yearning and struggle inherent in the bow stroke – Bach Partita enlarges on the basics of academic dance, much more so, in fact, than Tharp’s other classical efforts for American Ballet Theatre or her pop ballets. Legs unfolding expansively – the body dipping and swaying in accommodation – begin as homely tendus.

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The Birmingham Royal Ballet gets funding to refurbish its rehearsal spaces.

Existing studio spaces at the company’s base – part of the Birmingham Hippodrome complex – will be re-configured to create three large ones. Changing rooms will be extended as well to create dedicated areas for children.

Meanwhile, bleacher seating will be installed in one of the studios to create a small public performance space for hosting masterclasses and showcasing rehearsals.

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A preview of Les Grands Ballets Canadiens de Montreal's "Sleeping Beauty."

“We always interpret fairy tales for children,” he says, “and sometimes, it’s interesting to interpret a fairy tale for an adult audience.”

That’s the case in Les Grands Ballets’s production of Sleeping Beauty, as reimagined by Swedish choreographer Mats Ek, one of the giants of dance. “He is to Swedish dance what Ingmar Bergman probably is to Swedish filmmaking,” says Grand-Maître. “A genius."

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An update on the latest arrivals from the National Ballet of Cuba by Larry Rohter in The New York Times.

But that did not discourage seven members of the premier company, the National Ballet of Cuba, who arrived in the United States this spring. And in a remarkable success story, all of them have landed positions, including the all-too-perfect case of Arianni Martin: This month, she has been dancing the title role in Prokofiev’s “Cinderella” with Ballet Arizona here.

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A review of Nevada Ballet Theatre by Carol Cling in The Las Vegas Review-Journal.

And with one of ballet’s most legendary Odettes — NBT artistic coach Cynthia Gregory — staging the dance, NBT’s “Swan Lake” excerpt ably conjured a tragic, sweepingly romantic, spell.

Dale proved an exquisite, emotional Odette, delivering not only the swan queen’s flowing, fluttering steps but the anguish — and, after she meets Siegfried, the tremulous hope — behind them. Goforth provided steady support, while Barrington Lohr skulked and glowered as the hissably villainous Von Rothbart, the nasty sorcerer who cursed Odette in the first place.

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The Moiseyev troupe visits Yucatan.

Moiseyev’s Ballet Company masters the dancing discipline known as “nanayo” , which means “Boys fight”, and it is a conceptual recreation of body combat between 2 young men, kicking and shoving to overthrow the opponent.

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Chita Rivera appears at one of Miami City Ballet's "Open Barre" presentations. Story by Jordan Levin in The Miami Herald.

About Peter Gennaro, who did uncredited choreography for the America and Mambo dance sequences, Rivera said he had the “fastest feet in the business” and sang, instead of counting, the rhythms of his choreography. “He’d go tacka-tacka-tacka-tacka and you’d just know exactly how those steps were supposed to look,” she said.

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A profile of Paulo Manso de Sousa, founder of the new Southern Arc Dance Theatre.

As the youngest dancer at the Met, Manso de Sousa said he was fascinated by the legendary opera house and its sideline ballet company. He introduced himself to the opera singers, watched the conductors and befriended James Levine, who was music director at the time. Levine watched him from the wings as he progressed as a dancer, eventually advising him to move along if he really wanted to have a career in dance.

Manso de Sousa took his advice and promptly went to work with Edward Villella, one of America's first well-known male dancers, who was director at the Eglevsky Ballet at the time. Villella recognized similarities in the young dancer's body and dance styles to his own, arranging for a scholarship at the School of American Ballet for training.

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A social-pages story on the Houston Ballet's visit to Paris.

A privileged flock of Houston Ballet supporters swept across the Atlantic last week to be in the audience at Paris' famed Theatre des Champs-Élysées for the company's premier performance in the City of Light. Sixteen dancers joined renowned concert pianist Lang Lang on stage for his Sons de L'Ame (Sounds of the Soul) project that combined Chopin's music as performed by Lang Lang with dance choreographed by Houston Ballet artistic director Stanton Welch.

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An interview with Crystal Pite by Moira Macdonald in The Seattle Times.

But in 2009, National Ballet of Canada artistic director Karen Kain commissioned her to create a work for ballet dancers, and Pite found herself first intrigued, then fascinated to explore what she calls the “ecstatic architecture” of the ballet vocabulary again.

“I think of the ecstatic because it’s so generous — the chest is open, the neck is exposed, the arms are opening wide and high, the fingers are alive and the legs are open and turned out and extended. Everything just feels so exhilarated in the body,” she said....

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