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Tuesday, December 10

15 posts in this topic

A review of the Pennsylvania Ballet by Nancy G. Heller for The Philadelphia Inquirer.

The grown-up dancers were no slouches, either. On opening night the principal adult roles were played by Julie Diana (Sugarplum), Zachary Hench (her Cavalier), and Amy Aldridge (Dewdrop). The always-impressive Aldridge tossed off turns and leaps with her usual aplomb. And Diana was particularly expressive and warm, showing off her pliant footwork and flicking her fairy wand with obvious delight. As always, Hench played the ultimate Cavalier - unfailingly attentive to his partner while infusing even his smallest gestures with profound meaning. Their grand pas de deux was the highlight of the evening.

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Salt Creek Ballet presents its Nutcracker.

Established in 1985, the nonprofit Salt Creek Ballet is supported in part by the Illinois Arts Council.

“Part of Patty Sigurdson’s mission when she started Salt Creek Ballet, was that she really wanted everyone to only be exposed to the best — the best teachers, the best choreography, the best sets and costumes,” said Elizabeth Laurence of Clarendon Hills, co-president of the Salt Creek Ballet Guild, which supports the ballet and dancers....

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A National Public Radio audio interview with Devon Carney.

But this year the Kansas City Ballet has a new leader at the artistic helm, Devon Carney.

Carney joins us to speak about this holiday classic and how he keeps it fresh for himself and the audience.

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Reviews of the Paris Opera Ballet in "The Sleeping Beauty" and "Le Parc."

The New York Times

Does the ballet express Nureyev’s admiration for the pre-Soviet days of imperial splendor and the way that ballet itself reflects the social order of the royal court? Or was the dancer, as the Paris Opera program suggests, offering “subtle criticism of power and its hold over the individual”?

The Financial Times

...Isabelle Ciaravola, a picture of old-fashioned glamour, and Karl Paquette as a handsome libertine led the performance. They don’t yet reach the erotic heights of the original cast – but, as Ciaravola embraced Paquette in the high-flying kiss now better known as an Air France commercial, the tapered line of her legs and exquisitely arched feet in the air sent a palpable frisson through the audience.

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Q&A with Natalia Osipova.

How does Britain's approach to dance-making differ from Russia's?

In technique, they're very different. But I've got used to fitting in with different companies around the world. British audiences are special, though: so many guest companies perform here – it makes them very knowledgeable. The only way to surprise them is by dancing to a very high standard.

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Boston Ballet engages Comcast for aid with Internet-related services.

To be able to quickly perform such tasks as transferring video files, Boston Ballet has turned to Comcast Business Ethernet services after an earlier network was unable to handle the load. As a result, Boston Ballet now has a redundant network infrastructure supported by 20 Megabits-per-second fiber Ethernet Network Service from Comcast Business that interlinks its headquarters at 19 Clarendon St. in Boston, two Boston Ballet School Studios in Newton and Marblehead, and the Boston Opera House, Comcast said.

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Tickets go on sale for the Bolshoi Ballet's performances at the Saratoga Performing Arts Center next year.

SPAC members are entitled to pre-season discounts of between 15 and 20 percent, depending on membership level.

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Altynai Asylmuratova resigns from the Vaganova Ballet Academy.

The resignation of the ballerina, Altynai Asylmuratova, a graduate of the Vaganova Academy who was a prima ballerina with the Mariinsky Ballet, was reported by Russian news media on Monday. On Tuesday a report in the newspaper Izvestia confirmed speculation that Ms. Asylmuratova would be moving to the Mikhailovsky Theater, which is run by the banana tycoon Vladimir Kekhman.

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A profile in brief of Carlos Acosta.

No pain, no gain.

Famed for his grace and athleticism, Carlos Acosta is one of the greatest ballet dancers in history – right up there with Mikhail Baryshnikov and Rudolf Nureyev. The Cuban sensation has always been an advocate for hard work but, on the eve of his retirement, the 40-year-old has expressed concerns that the next generation of ballet stars lacks commitment and passion.

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The new Gelsey Kirkland Ballet will present its first Nutcracker.

Since the academy began in 2010, Mr. Chernov and Ms. Kirkland have presented several student performances. The annual operating budget, which started at about $650,000, is now $2.5 million. (Mr. Chernov said that tuition provided most of their income.) In October, Andrea Miller became the organization’s executive director.

In the meantime, more Kirkland Ballet performances are scheduled at the Schimmel Center, as well as at Symphony Space, where, in March, the company will present the main pas de deux — created for Ms. Kirkland — from Antony Tudor’s 1975 ballet, “Leaves Are Fading.”

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A local TV news story on the Cincinnati Ballet. Video.

We had a special visit from one of the dancers from the Cincinnati Ballet to perform a dance from the Nutcracker. You will see her on stage in this great tradition.


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A review of Ballet West's Nutcracker by Melissa Hurst for Broadway World.

Having seen The Nutcracker several times, this year the emphasis seemed to be on Act Two and the dancers in The Land of Sweets. Each artist was so precise and meticulous, but yet brought his own character and enthusiasm to their role. Arolyn Williams and her Miriltons were dynamic and so much fun to watch, Allison DeBona, as the Arabian Dancer, was sensual and mysterious, Beckanne Sisk and Christopher Ruud made difficult steps look easy in the pas de deux of the Waltz of the Flowers, and the audience was absolutely delighted with the Russian dancers.

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Behind the scenes at the preparations for Dancing in the Streets Arizona's Nutcracker.

With 100 dancers, there are 500 costumes that are flaunted during the performance. Every dancer has at least two costume changes. The costumes are reused each year, but they are always given a new purpose by either taking on a new character or receiving some kind of newfangled embellishment. Extra baubles for the costumes are collected throughout the year from craft stores and even dollar stores, says Hobson.

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The Boston Ballet presents its annual free Nutcracker performance. Photos.

The Nutcracker’s Dancing Bear was also on hand to entertain the crowds.

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Judith Mackrell analyzes documentary footage of Margot Fonteyn.

With or without a title though, the solo is revealingly of its period – exemplifying the blend of modernist simplicity and classical shaping that typified much early British choreography. Although the 18-year-old Fonteyn looks technically immature – Frederick Ashton, who makes a brief exuberant appearance in Façade at 4:50, referred to her feet as "pats of butter" – the little bourrées at 3:10, and the delicate reticence with which she touches her hand to her averted cheek, suggest a precocious understanding of style, as does the languorous backwards stretch at 3:33.

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