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dirac

Tuesday, November 26

9 posts in this topic

A review of the Stuttgart Ballet by Alastair Macaulay in The New York Times.

But the two most obvious characteristics were that each piece depended on the performers’ nondance charm (sometimes the dancer’s exposed physique, sometimes a use of facial expressions, always a strong projection to the audience) and each worked pointedly against the dynamics of its music. And, though in few other respects does today’s Stuttgart choreography resemble Cranko’s, this cultivation of conscious charm and these anti-musical dynamics still characterize his work and that of his successors. The Stuttgart’s artistic director since 1996 has been Reid Anderson.

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Santa Maria Civic Ballet presents its Nutcracker.

Diane began calling in nearby professional dancers to help with her Nutcracker productions in order to give her more advanced students chances to dance with professional-grade artists. Last year’s guest artist Sayat Asatryan will be returning this year to play the Nutcracker Prince and the Cavalier. But he won’t be coming alone—he will be bringing his 4-year-old daughter to dance as well.

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The Black Diamond Ballet Theatre presents its Nutcracker.

The East Contra Costa County professional ballet company's third Nutcracker -- after renovations caused a two-year hiatus -- will have all the necessary accouterments. There will be youngsters dressed as mice or soldiers; teens swirling like snowflakes or blooming with the splendor of spring flowers......

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A preview of the Lafayette Ballet Co. and the Columbus Ballet's Nutcrackers.

The Columbus Ballet's version of "The Nutcracker" can be seen the weekend before Christmas in the Bill Heard Theatre with a live orchestra, the Columbus Ballet Orchestra, led by Paul Hostetter.

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A preview of Houston-area Nuts by Molly Glentzer in The Houston Chronicle.

Increasingly, they're collaborating with local orchestras, bringing live music to the experience. Some also amp up the artistry by featuring guest stars in the lead roles.

You can catch American Ballet Theatre's Jared Matthews and Yuriko Kajiya with the Houston Repertoire Ballet, which also will collaborate for the first time this year with the Cypress Philharmonic.

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Houston Ballet's Allison Miller essays her first Sugar Plum Fairy.

Every little girl dreams of dancing the Sugar Plum Fairy, but this iconic role is no laughing matter. "Though it may not look like it, this is one of the most challenging roles in classical ballet repertoire," says Miller. "It is so pure and technically demanding, yet, the character must be in control and sugary-sweet. Aside from building up the physical stamina required for the part, I have been working on what my Sugar Plum Fairy will convey." The latter is of significant importance considering Houston Ballet's deep talent pool and the rich tradition of ballerinas who have danced the role on the Brown Theater

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A story on Nikolai Tsiskaridze's testimony at the trial of Pavel Dmitrichenko.

Tsiskaridze, a principal dancer and teacher during a 20-year career at the Bolshoi, said he had seen great promise in Dmitrichenko.

"I always told Pasha that a brilliant career awaited him if he worked harder," he said.

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A story on Rachel Rawlins' new career as a teacher.

With nearly 20 years on the stage as a principal ballerina with The Australian Ballet and the Royal Ballet in London, Rachel Rawlins has lived the dream and is now passing on her valuable skills and insights to students at the Australian Academy of Dance in Malvern.

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A story on the retirement of Olivia Bell.

Before appearing on stage at the Dame Joan Sutherland Theatre in front of a packed house and family and friends, the Newcastle-born Bell said she'd decided in recent months to draw the curtain on her career because juggling it with raising a young family had become too tricky.

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