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Saturday, December 28


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#1 dirac

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Posted 28 December 2013 - 08:21 PM

A feature on inside jokes at New York City Ballet and elsewhere by Michael Cooper in The New York Times.

 

At a close-knit troupe like City Ballet, where a living tradition is still passed on from dancer to dancer, little allusions and nods to the past are woven into many productions.

 

Balanchine’s love of cats — one of his cats, Mourka, could do dancelike tricks — inspired his frequent set designer, Rouben Ter-Arutunian, to put a cat in a window in the first act of “The Nutcracker” (it’s on the audience’s left), and to put two cats (along with three mice) on the roof of Dr. Coppélius’s workshop in the second act of the comic ballet “Coppélia.”

 

 



#2 dirac

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Posted 28 December 2013 - 08:24 PM

Kevin McKenzie is interviewed by Sharon Verghis in The Australian.

 

Is there an ABT style compared with a Paris Opera Ballet or Bolshoi style? Indeed there is, McKenzie says, and it's one that encapsulates the American style in general. "The dancers approach everything with a particular energy: there's a hunger and an attack that could be called - using that derogatory term - brash." He adds, with no little satisfaction, that all the world's national dance companies have now emulated the model that ABT started out with back in the 40s, which was "to do everything".

 

 



#3 dirac

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Posted 28 December 2013 - 08:25 PM

A year-in-dance review by Zoe Anderson in The Independent.

 

Osipova, an ex-Bolshoi ballerina with thrilling stage presence, joined The Royal Ballet in autumn 2013. Her first Juliet with the company was electrifying, both for the lush power of her dancing and for powerful dramatic insight. Osipova has The Royal Ballet’s rich dramatic repertory ahead of her: I can’t wait.

 



#4 dirac

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Posted 30 December 2013 - 12:19 PM

A review of Northern Ballet's Cinderella by Luke Jennings in The Observer.

 

In this fairytale, exposition always trumps emotion. We assume that the principal couple are in love, but nothing in their efficiently choreographed duets actually conveys this, although Batley and Leebolt do their best with lingering stares. Nixon has opted not to use Prokoviev's score, and while Feeney's more modernist reading is full of incidental colour in the style of Shostakovich, it never soars. This lack of romantic colour distances us from a generally well-told story. We just don't feel the love.

 

 



#5 dirac

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Posted 30 December 2013 - 12:20 PM

Emily Molnar is named an "Artist of the Year" by The Globe and Mail.

 

Molnar’s vision for the 18-member company is to make Ballet BC a lean, mean, contemporary-ballet machine. She is doing this through repertoire, and by bringing in a host of choreographers who are well-known outside Canada but under the radar here. As a result, Molnar and Ballet BC have acquired a reputation for producing cutting-edge dance.

 



#6 dirac

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Posted 30 December 2013 - 12:23 PM

Highlights of the year in jazz and dance by Calvin Wilson in The St. Louis Post-Dispatch.

 

New York City Ballet Moves, presented by Dance St. Louis at the Fox Theatre in March, more than lived up to its considerable reputation. Performing pieces by choreographers including Peter Martins, Jerome Robbins and Christopher Wheeldon, the touring company triumphed in a program that was by turns elegant and enigmatic.

 



#7 dirac

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Posted 13 January 2014 - 11:50 AM

A list of the five richest ballet dancers. Thanks to sandik for sending in the link!

 

Rudolf Nureyev - $7.9 million

 

Between choreographing, dancing, acting, and directing his net worth sky rocketed to the millions in a short amount of time, and he became highly sought after not only for his talents, but for his appearance.

 




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