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Wednesday, November 20


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#1 dirac

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Posted 21 November 2013 - 09:11 AM

A review of the cinema broadcast of the Royal Ballet in 'Alice's Adventures in Wonderland' by Carrie Seidman for The Sarasota Herald-Tribune.

 

There is simply not a wrong note in this entire production. From the Joby Talbot score, a remarkable blend of the avante garde and the traditional, to Bob Crowley's ingenious set and costume designs; from the innovative projections by Jon Driscoll and Gemma Carrington that adeptly handle the more fantastical story elements, to Wheeldon's clever choreography and the stellar performances of a cast who make the characters leap to life, nothing is less than, as a Brit would say, "brilliant."

 

 



#2 dirac

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Posted 21 November 2013 - 09:14 AM

An interview with Eduardo Vilaro.

The future for ballet is bright for Latino audiences, according to Vilaro, thanks to the popularity of shows like “So You Think You Can Dance” and “Dancing With the Stars.” Also, Latino dancers are becoming more visible.

 

“Cuban National Ballet dancers have become major super stars in national ballet companies…[and] it has become more acceptable for men to dance,” says Vilaro. “We are at a place where we are becoming leaders in the dance world, and that’s why we’re here.”

 

 



#3 dirac

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Posted 21 November 2013 - 09:19 AM

A look at the trend toward peripatetic ballet stars by Roslyn Sulcas and Michael Cooper in The New York Times.

 

Ballet has always had a handful of major stars, like Rudolf Nureyev, Mikhail Baryshnikov and Sylvie Guillem, whose fame and box-office appeal allowed them to maintain jet-setting careers. But the practice has grown in recent years, with some of the biggest names in the ballet world — Ms. Osipova, David Hallberg, Sergei Polunin, Ivan Vasiliev, Alina Cojocaru — now not only switching among troupes, but often belonging to more than one company at a time.

 

This is already affecting traditional ballet company structures as less famous dancers emulate these examples, leaving companies like the Royal or the Paris Opera Ballet, which once would have been considered permanent homes, and no longer trusting their career paths to troupes’ all-powerful directors. It also means that audiences have a chance to see more international stars, and that the dancers see more financial rewards.

 



#4 dirac

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Posted 21 November 2013 - 09:21 AM

A story on the ongoing troubles at the Bolshoi.

Ratmansky, who now works in the U.S. and has often spoken of the poisonous atmosphere at the Bolshoi, also spoke out about Tsiskaridze's appointment, writing on his Facebook page: "Why the dismissal in the middle of the school year? It seems the only fault of the current leadership of the academy was that Nikolai Tsiskaridze was suddenly unemployed."

 

The former Bolshoi artistic director posted a video on his Facebook page this week from the 2007 documentary "Strictly Bolshoi" about British choreographer Christopher Wheeldon creating a work for the Bolshoi. In the documentary, Wheeldon is seen to have constant trouble with a moody and capricious Tsiskaridze.

 

 



#5 dirac

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Posted 21 November 2013 - 09:24 AM

A review of Complexions Contemporary Ballet by Gia Kourlas in The New York Times.

 

On Tuesday at the Joyce Theater, the stale air of competition dance permeated the opening-night Complexions program, with lighting so funereal that it seemed the designer Michael Korsch was trying emulate a war zone. The program highlighted two works by Jae Man Joo, the company’s associate artistic director. Along with “Flight,” a slight 2012 piece for three dancers, was “Recur,” a New York premiere. In this shadowy dance, Mr. Joo begins with a stream of disconnected movement phrases that greatly emulate the quick, thrusting hip swirls of William Forsythe. It’s a dance you feel you’ve seen many times before.

 



#6 dirac

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Posted 21 November 2013 - 09:30 AM

The Cape Town International Ballet Competition  gets a new name, or an old one.

 

Dirk Badenhorst, founder and CEO of the competition which has taken place in Cape Town every second year since 2008, has announced that in view of the City of Cape Town's decision to terminate its funding of the competition, the competition will no longer carry the City's name. Consequently, the competition will revert to its original 2008 name of the South African International Ballet Competition.

 



#7 dirac

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Posted 21 November 2013 - 09:33 AM

Ballet West's new Nutcracker dragon is introduced.

 

On Wednesday outside their Trolley Square studios, Ballet West dancers unveiled a new prop, a 36-foot Chinese dragon, with a papier mache head and body of cotton with fur, sequins and jewels, for its 50th-anniversary production of "The Nutcracker," which opens at the remodeled Capitol Theatre on Dec. 6 and runs through Dec. 30.

 



#8 dirac

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Posted 22 November 2013 - 02:43 PM

The cable channel Starz recruits some well-known names for its new ballet-themed drama, "Flesh and Bone."

 

......Additionally, Ethan Stiefel, star of the movies Center Stage and Center Stage: Turn It Up, has joined the project as consultant and choreographer. He is the artistic director of the Royal New Zealand Ballet and was a principal dancer with American Ballet Theatre from 1997-2012. Nationwide search for the lead role, Claire Robbins, continues, with more than 1,000 dancers already auditioned.

 



#9 dirac

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Posted 23 November 2013 - 12:40 PM

A review of Pacific Northwest Ballet by Carla Escoda in The Huffington Post.

 

Few programs explore the power of ballet to depict the human condition and the inhuman condition as beguilingly as Pacific Northwest Ballet's current offering of three modern classics by Jiří Kylián, brilliantly paired with Emergence, Crystal Pite's spine-chilling parable of a sci-fi insect kingdom.

 

 




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