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Tuesday, November 19


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#1 dirac

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Posted 19 November 2013 - 05:04 AM

A CNN International feature with an interview of Krzysztof Pastor of the National Ballet of Poland.

 

Pastor's mission is to create a dance company that reflects Poland's rebirth after a turbulent century of wars, occupations and repression.

 

According to the Teatr Wielki, ballet has played a prominent role in Polish culture since as far back as the 16th century when the first choreographed displays began appearing in the country's royal courts. During the romantic period of the 19th century, the Warsaw Ballet was even considered one Europe's leading ensembles.

 

 



#2 dirac

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Posted 19 November 2013 - 05:15 AM

Reviews of the Stuttgart Ballet.

 

The Evening Standard

 

There are great dancers in this company, like Alicia Amatriain (specialism: 200-degree splits) and Friedemann Vogel, but not enough dynamic material, and they have their work cut out to keep the energy and focus in this format that undermines the talent it’s supposed to show off.

 

 

The Guardian

 

Unfortunately, while the format certainly maximises variety, it also makes for a very scrappy viewing experience. It's no accident that the most satisfying work of the evening is also the longest and most self-contained, the third movement from Cranko's 1972 ballet, Initials RBME.

 

 

The Stage

 

...The drama comes from the physical extremes and ingenuity of the chorography and, in this respect, the influence of American-born choreographer, and one-time Stuttgart dancer, William Forsythe is evident. Unexpectedly, there is also humour, with Christian Spuck’s Le Grand Pas de Deux (1999) spoofing ballet’s sacred cows. However, the quiet hit of the evening is Edward Clug’s Sssss, a sombre solo that shows off the charismatic dancer Pablo von Sternenfels.

 

 

The Arts Desk

 

The menu proper is preceded by an amuse-bouche which sets the tone for the evening: John Cranko's short Hommage à Bolshoi (1964) is a vélouté of classical loveliness (perfectly rendered by the stunning lines of Maria Eichwald) with a piquant garnish of set-piece “Russian” lifts. It's over in a flash, but lines, lifts and love will be constants in this programme, which showcases the company's principal dancers in nine pas de deux, three solos, and only one ensemble piece.

 



#3 dirac

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Posted 19 November 2013 - 05:23 AM

A preview of next year's South African International Ballet Competition.

 

Now that the City of Cape Town has relinquished naming rights and Badenhorst has secured sponsorship from the National Lotteries Board, rotating the competition among cities is viable, opening up tourism possibilities.

 

It has taken years to build the brand to the point where it is becoming known around the world. The number of international entrants “shows the level of support we have outside of South Africa”.

 

 



#4 dirac

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Posted 19 November 2013 - 05:32 AM

A review of the Stuttgart Ballet by Mark Monahan in The Telegraph.

 

That leaves eight other, mainly modern pieces on this three-hour bill – which is to say, too many, especially as the pickings are less rich here. Itzik Galili’s casually conversational modern Mono Lisa (another of the five UK premieres on offer) makes a certain impression. But too many of the other pieces – by Edward Clug, Douglas Lee and SB resident choreographer Marco Goecke – have coagulated in the memory into a homogeneous gloop of twitchily frenetic dance-making and bared male torsos. Goecke’s cabaret-inflected, feather-boa-filled Fancy Goods (2009) is simply awful, an adjective nevertheless far too kind for Christian Spuck’s grindingly unfunny ballet mockery Le Grand Pas de Deux (1999).

 



#5 dirac

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Posted 19 November 2013 - 05:35 AM

Minsk will see "Seven Beauties," a ballet by composer Gara Garayev.

 

Seven Beauties is Gara Garayev’s second ballet to be staged by the Bolshoi Theater as it hosted his Path of Thunder in 1960, AzerTAc reports.

 

 



#6 dirac

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Posted 19 November 2013 - 05:50 AM

A review of "Swan Lake Reloaded" by David Burghardt for The Moscow News.

 

But "Swan Lake Reloaded," which recasts the swans as drug addicts, is an energetic retelling of Tchaikovsky's ballet that throws techno music, street dance and the sins of the modern world into a fast and frenetic 75-minute show that premiered last week at Dvorets na Yauze.

 



#7 dirac

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Posted 19 November 2013 - 02:45 PM

Four principals announce their retirement from New York City Ballet.

 

Ms. Taylor and Mr. Marcovici, who wed in 2012, will dance their final performances with the company together on March 1, in Robbins’s “Afternoon of a Faun” and Balanchine’s “La Valse.” They plan to move to Los Angeles, where Mr. Marcovici will become a ballet master with L.A. Dance Project, which was co-founded in 2012 by Benjamin Millepied, the former City Ballet dancer who will become the director of dance at the Paris Opera Ballet in September.

 



#8 dirac

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Posted 19 November 2013 - 02:47 PM

More reviews of the Stuttgart Ballet.

The Financial Times
 

In 1961, John Cranko – essentially a child of the Royal Ballet – went to Stuttgart to assume the direction of a provincial ballet troupe. I count myself fortunate to have seen the development of this company into a grandly creative ensemble whose destiny Cranko guided until his sudden death in 1973. We have loved Stuttgart’s ballet since Cranko’s first seasons, and half a century later we so do still. But the programme that marks its return to London – 13 choreographic fragments and duets from a repertoire specially made for the ensemble, and dumped without much ceremony on the Sadler’s Wells stage – taxed even my admiration.

 

 

The Independent

 

German audiences must have more stamina. Stuttgart Ballet’s Made in Germany presents 13 works created for the company, including seven UK premieres. The dancers are strong and individual, but the evening becomes a slog – so many excerpts, so much whimsy, so many dancers in their pants.

 



#9 dirac

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Posted 21 November 2013 - 09:27 AM

The Milwaukee Ballet's 'Peter Pan' will be broadcast by PBS. Interview with PBS president Paula Kerger.

I had a feeling I wasn't asking her any questions about PBS she hasn't been asked before. But here are her answers:

 

Federal funding, which some object to for marketplace or ideological reasons, goes directly to local stations and represents "in aggregate 15% of funding for public broadcasting." If federal aid to stations ever goes away, she said, so might some smaller stations, and many others would "be impacted."

 


 



#10 dirac

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Posted 21 November 2013 - 09:32 AM

A review of New York City Ballet by Michael Popkin for danceviewtimes.

 

New York City Ballet’s “Contemporary Choreographers” program was a marriage of ballet convenience. “Opposites attract” is another old saying; and the final Thursday night program of NYCB’s fall season proved both saws right. The styles, themes and genres of dance in the triple bill had little in common; but convenience is convenient as long it lasts.

 



#11 dirac

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Posted 23 November 2013 - 12:41 PM

A review of Trainor Dance by Mary Cargill for danceviewtimes.

 

"Kaitlyncaitlin" was a duet for the choreographer and Kaitlyn Gilliland, formerly with the New York City Ballet. Soriano's costumes were vibrant red, a short, flowing chiffon dress for Trainor, and a red tunic for Gilliland made of small squares of fabric that floated as she moved. The dancers, Trainor barefooted and Gilliland on point, echoed each other's movements, showing off the difference between the grounded Trainor and the more light footed Gilliland. It was a study in movement, with no value judgements, no "ballet is silly" moments.

 

 



#12 dirac

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Posted 28 November 2013 - 02:05 PM

Precious Adams talks of encountering racism at the Bolshoi Ballet.

In her more than two years at the academy, Adams has been left out of performances because of the color of her skin, she says, and has been told to "try and rub the black off" to make herself look more like what directors want for shows like the school's 240th-anniversary performance earlier this month.

 

"Some of the teachers know in the back of their minds that it is unfair, because they know that I can do what these other people are doing just as good if not better than them," Adams said in an interview. "Teachers have tried to vouch for me before, but if the almighty voice says it's not right — it doesn't look right — then whatever they say goes."

 

 



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