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dirac

Saturday, January 25

6 posts in this topic

Dawid Trzensimiech quits the Royal Ballet amid reports of dancer discontent.

Two years on, it appears to be the dancers who are in revolt. Another rising star has abruptly quit, while members of the corps de ballet called in union bosses this week to protest at working conditions.

The latest dancer to head for the door is Dawid Trzensimiech, marked out by critics as one of the company’s most promising soloists.

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A review of the Royal Ballet in "Hansel and Gretel" by Hanna Weibye for The Arts Desk.

But these are minor reservations. I actually can’t help but recommend this wrenching piece of theatre enthusiastically to anyone with the guts for it. Scarlett has an undeniable gift for choreography in an elegant, flexible modern ballet idiom, and for inspiring tremendous peformances from his dancers. All six are physically superb in their roles, and all six hold nothing back; sweat flies, chairs are hurled, bottles smash over heads, and Donald Thom actually crawls over broken glass. All mere inches from the front row of the audience – seriously, the only way to get any closer to a Royal Ballet principal dancer is to be one yourself. If I hadn’t learned my lesson about wishing, I’d wish to see more new work, and lots of it, from everyone involved in this production.

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Li Cunxin is a finalist for Australian of the Year.

Queensland Ballet secured Li as artistic director and his first season in 2013, a sell-out, set a record for the number of season-ticket holders.

Li's new dream is to help Queensland Ballet rise to an international standard.

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The Birmingham Royal Ballet will present "The Prince of the Pagodas." Preview in brief.

Bintley’s choreography is only the third version of the ballet to have been produced since it was first written in 1957.

Olivier Award-winning War Horse designer Rae Smith brings the production to life with set and costume designs inspired by the traditions of Japanese fairytale and art.

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A story on the Royal New Zealand Ballet's first visit to the U.S. in twenty years.

The company will continue its one-month tour in Santa Barbara and Minneapolis, finishing in New York.

The troupe will perform the ballet Giselle, which is co-produced by artistic director Ethan Stiefel, and other works by both New Zealand and international choreographers.


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A review of the Royal Ballet by Luke Jennings in The Observer.

Giselle is not an obvious role for Osipova. With her lithe physique and gamine features she is a very physical presence, anything but the ethereal spirit-being of the ballet's second act. But through a combination of theatrical imagination and sheer willpower, the 27-year-old Muscovite has made the part her own. From the first, we are aware that this Giselle is not only physically fragile, forced to stop and catch her breath at unexpected moments, but psychologically vulnerable. We see this in her hectic and at times childish body language, and in the needy sideways glances that she darts at Albrecht (Carlos Acosta).

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