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Wednesday, January 29


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#1 dirac

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Posted 30 January 2014 - 11:50 PM

A review of the cinema broadcast of the Royal Ballet's 'Giselle' by Louise Levene in The Telegraph.

 

The chief risk with any dance film is that the director’s roving eye will not focus on the moments that matter. A solo is straightforward enough, but the kind of ensemble playing found in the opening scenes of The Nutcracker, say, or the brothel scene in Manon can make it hard to know where to look. However, director Ross McGibbon’s pan-and-scan of Giselle hardly missed a trick. Most importantly, he was willing to sacrifice the occasional establishing shot in order to close in on Osipova’s remarkable performance.

 

 



#2 dirac

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Posted 30 January 2014 - 11:55 PM

Rupert Christiansen takes a look at the personnel switches between the English National Ballet and the Royal.

 

As Manchester United and Chelsea spend zillions grabbing at each others’ players, there is an analogy to be made with a bloody transfer war that has broken out between Britain’s two top dance companies: manager – sorry, artistic director – Tamara Rojo at English National Ballet is slugging it out with her opposite number Kevin O’Hare at the Royal Ballet – and there’s no sign of an imminent peace treaty.

 

 

 



#3 dirac

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Posted 31 January 2014 - 12:02 AM

A review of the Mariinsky Ballet by Sarah Kaufman in The Washington Post.

 

Watching “Swan Lake,” which lays bare a troupe’s collective technique and emotional commitment as no other ballet does, can amount to a chore if those dancing it aren’t excellent throughout the ranks. So many companies lack that kind of depth. Yet the opening-night cast led by Alina Somova and Vladimir Shklyarov drove home the argument that the Mariinsky is not one of them.

 



#4 dirac

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Posted 31 January 2014 - 12:05 AM

A review of San Francisco Ballet's 'Giselle' by Rita Felciano for danceviewtimes.

 

Opening night's "Giselle" presented a company in full control of its resources -- which included its fine musicians  -- and it was a heady experience. For all its excellent soloists, SFB's corps is blessed with superbly trained lesser-known dancers: the men with buoyant elevation and elegant comportment, the women with crystalline footwork and expressive port de bras.  Unisons and mirroring images came out of one mold, supported by a refined sense of musicality, immensely helped by Martin West and his band of musicians. These dancers looked more like townspeople -- in an almost Bournonvillian way -- than peasants. When the women stepped up to shadow Giselle's solo, it became gesture of support for one of their own. Her maiden friends spooled off their allegro footwork like ribbons of spun sugar. The mime passages -- not only the formal ones but also the simple gestures among the "peasants" -- were large and clear, making the stage pictures come alive. 

 

 

 


#5 dirac

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Posted 01 February 2014 - 10:24 PM

A story on the retirement of Janie Taylor and Sébastien Marcovici from New York City Ballet by Joseph Carman in Playbill.

Their decision to leave the company was prompted by an offer to the Parisian-born Marcovici from former NYCB principal dancer Benjamin Millepied (and incoming Director of Dance at the Paris Opéra Ballet) to become a ballet master for L.A. Dance Project, which Millepied co-founded. Marcovici’s job will entail coaching and rehearsing ballets and teaching company class.

 

For Taylor, the timing also seemed appropriate. “At this point in my career, it seems like the right decision to make. We didn’t have any interest in not being in the same place for a while.”

 

 



#6 dirac

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Posted 01 February 2014 - 10:38 PM

A review of Mikhail Baryshnikov in 'Man in a Case' by Emily S. Mendel for Berkeleyside.

 

Unfortunately, Baryshnikov’s statement about the universality of Chekhov’s literature is not fully realized in this disjointed performance. Annie-B Parson and Paul Lazar, co-founders of the Big Dance Theater, have created over 20 works that have toured internationally. Big Dance chose to mount these plays with many creative ideas and conceptions. Yet, their attempt to marry Chekhov with their singular aesthetic didn’t work for me — even with Baryshnikov’s significant star power.

 

 



#7 dirac

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Posted 02 February 2014 - 08:07 PM

A story on the mass resignation of the board of  Minnesota Dance Theatre . Much obliged to sandik for sending in the link!

No one on the board was made available to comment Tuesday. Phone calls to the chairman, James Matejcek, were not returned.

 

In a statement Tuesday night, artistic director Lise Houlton thanked the board for its service and said she anticipates moving forward with the company, which was founded by her mother, Loyce.

 



#8 dirac

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Posted 05 February 2014 - 02:35 PM

Another review of the cinema broadcast of "Giselle," this one by Brian Seibert in The New York Times.

 

It was my first experience of one of these broadcasts, which I saw at Regal Union Square Stadium cinema, and it took me a while to adjust to the incongruous sounds of someone slurping soda behind me, as well as to the camerawork. Ross MacGibbon’s direction was generally good, though the editing could be disorienting, especially when following a single figure on the move, and overly tight framing sometimes diminished the impact of the choreography. 

 

 




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