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dirac

Tuesday, January 28

9 posts in this topic

A review of New York City Ballet by Sondra Forsyth for Broadway World.

However, I found the pairing of the delicate but daring Sara Mearns and the taller yet less authoritative Maria Kowrowski to be jarring. Even so, Tyler Angle partnered both women with attention to their uniqueness. The only bad moment came when one of the corps dancers slipped and fell near the apron at stage right. To her credit, she was up in an instant and blended right back into the action but during the third ballet, a male dancer fell in exactly the same place. A woman sitting next to me whispered that she had seen two dancers fall there on Wednesday evening. Note to the stage crew: Find out what's making that spot slippery and rectify the problem!

Apollinaire Scherr reviews the company in The Financial Times.

In Dances at a Gathering, character is built into the steps as much as into the music. But it takes the dancers to bring it out, which the recent, rising crop of New York City Ballet principals and soloists did magnificently in the ballet’s first outing this year. With company pianist Susan Walters’ chiming lucidity and joyous brio coursing through them, they appeared utterly spontaneous yet committed to each mercurial moment. They moved with astounding fleetness without skirting feeling.

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A review of the cinema broadcast of the Royal Ballet's "Giselle" by Carrie Seidman in The Sarasota Herald-Tribune.

But was I the only one who found the rest of the production underwhelming and her chemistry with Acosta lacking? The difference in their ages — she is 27; he, who has announced his retirement next season, is 40 — was part of it. Her overwhelming presence was the rest. She overshadowed even Acosta's enduring magnitism and his waning technique was all the more apparent next to her virtuosity.

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Wayne Sleep speaks up for tubby girls.

Saying he was not "trying to make a mockery of his art", he conceded: "I’m not trying to prove that big people can get into ballet companies – but why should they be denied the opportunity to enjoy dance, especially when they are young?"

He added if someone can jump, spin and point their toes, it does not matter if they are "plump".

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A review of the James Sewell Ballet by Caroline Palmer in the Star Tribune.

James Sewell Ballet has a commitment to nurturing choreographic experimentation with its “Ballet Works Project.” This year’s edition features five creations from company members and guests. Some are knockouts, others are still evolving, but credit is due the JSB dancers for their versatility, bravery and a fluidity of styles.

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A review of the National Dance Institute's Jacques’ Art Nest: The DNA of Choreography by Siobhan Burke in The New York Times.

The pressure was on, though, as Mr. d’Amboise (who, at 79, can still move) directed Ms. Reichlen and Mr. Danchig-Waring in an impromptu dance-making session, rehearsing choreography that they had started creating just days before. Given how personable these dancers can be onstage, their sense of humor — as Mr. d’Amboise shouted “faster, faster!” — came as a delight, but not a surprise.

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A review of San Francisco Ballet's opening night gala.

San Francisco Classical Voice

Pair after pair displayed the company's great strength of its cluster of stars: Sarah Van Patten and Tiit Helimets in the MacMillan Concerto, Yuan Yuan Tan and Damian Smith in Edwaard Liang's Finding Light and more. Many more.

The Ballet Orchestra, under Martin West's direction, did a fine job. They have their work cut out for them — and the musically inclined audience has much to expect — during the season, which has what West calls "the most diverse repertoire of any company I know."

Review of "Giselle" in The Huffington Post

Former Paris Opera Ballet soloist and newly minted SFB principal Mathilde Froustey gave a marvelously naturalistic performance on Sunday, as if born to dance the wide-eyed peasant girl with a heart of gold. Particularly entrancing are her piquant shouldering, supple torso, and million-euro smile. Distraught to learn that her fiancé was actually a prince who had been slumming it in the village, and who was engaged to a haughty noblewoman, she grabs his sword and drags it around the village square. At this performance, the sword's crossguard unexpectedly caught on her rival's sumptuous robes and ripped a prominent hole in her skirt. A felicitous accident that should become a permanent feature of Act I.

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The Pittsburgh Post-Gazette reprints a 1995 story by Jane Vranish on Pittsburgh Ballet Theatre's multimedia work to the music of the late Pete Seeger.

The 23-year-old Cassie admits that her grandfather once told her that part of "This Land Is Your Land" was written for her. Because she lived across the country, her line was "from California to the New York Island."

"I believed it for years," she recalls. "Peterpop," as she called him, was wonderfully affectionate to her. "I loved to hear him tell bedtime stories -- 'Abiyoyo' was my favorite. Then there was the time we just sat by the brook and he taught me how to whittle -- that was really special. I like to just listen when I'm around him" -- like last January, when she drove up to visit during a company break, and he extolled the virtues and techniques of chopping wood.....

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A review of San Francisco Ballet in 'Giselle' by Lauren Gallagher in the Examiner.

While famous for Giselle’s mad scene, the ballet requires theatrical tenacity in the male roles, too. On opening night, Davit Karapetyan’s Prince Albrecht ranged from stiff to hammy to negligent, such as when he thoughtlessly dropped his cape on Giselle’s grave, as if he were plopping a soda can in the trash. Albrecht should be an irresistible, grade-A flirt in the first act, but Karapetyan was more “Nutcracker” cavalier than a thespian.

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The board of Minnesota Dance Theatre resigns en masse. Story by Missouri Public Radio.

In an announcement released Tuesday, the board stated that it was no longer able to serve the needs of the organization going forward.

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