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Monday, January 20


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#1 dirac

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Posted 20 January 2014 - 12:00 PM

Reviews of the Royal Ballet in "Giselle."

 

The Financial Times

 

Giselle as one of the finest flowers of the Romantic ballet, or Giselle as irresistible vehicle for a ballerina? These are implicit choices for a ballet troupe and, characteristically, the Royal Ballet has really not made up its mind in this present revival. Peter Wright’s production wears well and gains accretions and revisions, so it seems, with each return to the repertory, but remains tremendously wooded in its settings. (An axe would be welcome in the second-act forest.)

 

On Saturday night this dichotomy seemed more cussed than usual since Natalya Osipova was the Giselle.....

 

 

 

The Independent

 

Dancing his first Albrecht at the matinée performance, Steven McRae showed exuberant technique and an intelligent sense of drama. His Albrecht is pushy, aggressively chasing Roberta Marquez’s coy Giselle; he goes stony as disaster approaches, then crumples when it hits. In the second act, he pushes naturalistic acting too far, sometimes allowing it to get in the way of his dancing. McRae’s Albrecht has both technique and feeling, but he needs to balance them better.

 

 

The Stage

 

With such a shattering central performance, it would be easy to overlook the rest of the cast were they not on top form. Fortunately, Osipova’s presence seems to elevate the entire company. Valentino Zucchetti draws deserving applause for his finessed tours in the Pas de Six, as do the corps for their sensitive unity in Act II.

 

 



#2 dirac

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Posted 20 January 2014 - 12:02 PM

More:

 

Metro

 

It’s a performance that seeps into your soul – and there are ample pleasures elsewhere too: Acosta’s powerfully drawn Albrecht is always a joy; the corps make their massed ranks of revenge-hungry ghosts radiate menace; and the Act One pas de six is glorious, with Yuhui Choe’s wonderful core stillness making all her moves look luxurious, Valentino Zucchetti producing spins and twists that look like controlled explosions, and Francesca Hayward cementing her position as one to watch.

 

The Evening Standard

 

Her descent to madness and her ghostly appearance in Act II is not quite as spookily demented as when she played the role with the Mikhailovsky but her whole bloodless body tells the story of her fate, with her sloped shoulders and drooping neck. She is Romantic ballet’s ultimate supernatural sylph.

 



#3 dirac

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Posted 20 January 2014 - 12:04 PM

The Joffrey Ballet creates a new scholarship program.

 

The program will award 10 Joffrey Studio Company dancers — to be recruited through auditions of students from around the globe — full scholarships to the Joffrey Academy of Dance, the official school of the Joffrey Ballet. There they will be part of a program designed to prepare them for careers as professional dancers, and will be given prime performance opportunities, as well.

 

 



#4 dirac

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Posted 20 January 2014 - 12:06 PM

A review of the cinema broadcast of the Bolshoi Ballet in "Jewels" by Carrie Seidman in The Sarasota Herald-Tribune.

 

An unexpected highlight was an intermission interview with Bolshoi Artistic Director Sergei Filin, who has been largely in absentia since the acid attack a year ago that left him partially blind. Speaking from behind dark glasses, he praised his "jewels" (ballerinas) and made no mention of his impaired eyesight or his future plans.

 



#5 dirac

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Posted 20 January 2014 - 12:08 PM

A glimpse of David Bintley's high school years.

Brian retired as Head of Maths from Honley High School and had previously been in charge of sports, under which role he knew Glenys and Dave’s son, David. This young student was, he says, extremely athletic and very good at football and cricket.

 

“Unfortunately, from my point of view, he was also very interested in ballet and would go for ballet lessons instead of turning up for sporting events. One Saturday, he failed to turn up for a football match and I had him in my office when he came back to school and gave him a real dressing down.”

 



#6 dirac

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Posted 20 January 2014 - 12:10 PM

A new study assesses bone strength in ballet dancers.

The cross-sectional study involved a comparison between fulltime ballet students (~16 years-old), university students (~20.4 years-old) and professional dancers (~23.8 years-old) assessing their bone mineral content (BMC) and bone mineral density (BMD) values.

 

Physiological characteristics such as body composition, isometric strength (muscle strength), anaerobic and aerobic capacity were measured.

 

 




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