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Saturday, February 1


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10 replies to this topic

#1 dirac

dirac

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Posted 01 February 2014 - 09:51 PM

A review of the Royal New Zealand Ballet in "Giselle" by Lewis Segal in The Los Angeles Times.

 

The enhanced Petipa matrix could also explain why Gillian Murphy, a powerhouse principal from American Ballet Theatre, looked so comfortable as Giselle, a role she had never danced until the premiere of this production. Her mad scene may have been by-the-numbers, but in passages demanding speed, sustained technical control, absolute clarity of articulation and perfect placement, Murphy ruled.

 



#2 dirac

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Posted 01 February 2014 - 09:54 PM

A story on turbulent times at the Royal Ballet and the English National Ballet by Vanessa Thorpe in The Observer.

After Muntagirov offered his services to Covent Garden, O'Hare was quick to speak to Rojo. "Vadim came to me and said he had already handed in his resignation and was interested in coming to us, so I phoned Tamara the next day. I didn't want the rumours to get around before I had spoken to her. I respect her. She was a great dancer here."

 

Their conversation was businesslike and polite, he said. He had not, he confirmed this weekend, approached Muntagirov first. "Vadim has had plenty of offers. He is a very humble young man, but he knows his worth. He knew he could come."

 



#3 dirac

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Posted 01 February 2014 - 10:02 PM

A review of the Royal Ballet in 'Giselle' by Beth Jakubowski for the University of York's student paper.

 

The pas de six who perform at the Queen of the Vintage festival were all excellent, but my doubts over first soloist Akane Takada remain. After seeing her falteringly perform Don Quixote, it was disappointing to see she made numerous mistakes in the pas de six, particularly when she over rotated in her pirouette and failed to finish the sequence en pointe, in arabesque like the other two dancers, a mistake that was painfully obvious to the audience. Takada looks set to be a future Principal as she has already danced a number of the classic lead roles. If this is the case, her technique needs significant work and her stage presence is particularly poor, having seen her dance on numerous occasions I still can’t warm to her as a dancer.

 



#4 dirac

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Posted 01 February 2014 - 10:04 PM

A review of Miami City Ballet by Jerry Opdenaker in The Palm Beach Daily News.

 

Chutes and Ladders, by emerging choreographer Justin Peck, boasts a four-piece chamber ensemble beautifully playing Benjamin Britten’s String Quartet No. 1 as the backdrop for exquisite dancers Tricia Albertson and Renato Penteado. This fresh neo-classical pas de deux has an echo of Peck’s Balanchine upbringing but innovatively moves beyond to examine his own unique twists within its entanglements and movement motifs. Sculpturally entrancing, this work seems to follow the musical intonations, pushing the couple to the verge of what might be artistically attainable.

 

 



#5 dirac

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Posted 01 February 2014 - 10:05 PM

A preview of the Hamburg Ballett's 'Liliom' by Joseph Carman in The Los Angeles Times.

 

In Neumeier's Baz Luhrmann-esque production of the ballet, which premiered in Hamburg in 2011, the scenario has been shifted to the U.S. during the Great Depression, and Julie and Liliom's child is a son, Louis, rather than daughter, Louise. As in many of his ballets, Neumeier — who, since 1973 has served as artistic director of a European ballet company, longer than anyone else — thinks cinematically, eschewing some of conventional ballet's rigid scene structures.

 



#6 dirac

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Posted 01 February 2014 - 10:07 PM

A preview of Ballet West's "The Sleeping Beauty" by Heather Hayes in The Deseret News.

....By Season 2, her [Allison DeBona's] “evil streak” had all but vanished, and a frank sounding off on her Facebook page about the difficulties of professional dancing lauded her praise from her critics.

 

“It’s been great, and I’m happy with how things have turned out,” DeBona said. “The show has given me so much. Not a day goes by that there isn’t some opportunity to guest teach or dance in my inbox.”

 



#7 dirac

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Posted 01 February 2014 - 10:20 PM

An item in TIME on JR's art installation for New York City Ballet.

 

His work is usually classified as street art, but this time he’s photographed 80 dancers from the New York City Ballet to create a series of pieces that will be displayed during the ballet’s winter season, including one huge piece on the floor of the promenade that includes all of them.

 

 

 

 



#8 dirac

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Posted 01 February 2014 - 10:43 PM

A preview of the spring season in dance by Sarah Kaufman in The Washington Post.

 

This will be Hallberg’s first time dancing here with the Russian company since he joined it with great fanfare in 2011. (He splits his time between the Bolshoi and American Ballet Theatre.) And I’ll be interested to see what Zakharova, a prima known for her grandeur and ­hyper-flexibility, brings to a role demanding innocence and vulnerability.

 



#9 dirac

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Posted 01 February 2014 - 10:48 PM

An interview with Joy Womack by Katie Urbaszewski in The Austin American-Statesman. (Available to non-subscribers by 24-hour digital pass purchase)

 

Although she still has friends in the Bolshoi, many give her looks as cold as the Russian weather as she walks by, said Womack, who left the Austin area in her early teens to study ballet, first in Washington, D.C., later in Russia. She was one of the the first American ballet dancers to join the world-renowned Bolshoi.

 



#10 dirac

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Posted 03 February 2014 - 10:50 AM

A review of the Birmingham Royal Ballet in "The Prince of the Pagodas" by Andrew Stuart in The Manchester Evening News.
 

Pre War Horse, Olivier Award-winning designer Rae Smith’s stunning sets and costumes are inspired by a combination of traditional Japanese fairytale and art complete with humorous monsters. Similarly, Bintley has incorporated the gestural language of Noh theatre and the style of Japanese artist Kuniyoshi in his choreography. He’s also re-structured the plot transforming a romantic love story into a celebration of family love.



#11 dirac

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Posted 05 February 2014 - 03:07 PM

Benjamin Millepied is converting to Judaism.

 

Millepied, 36, who is currently in the midst of the conversion process, added to the paper that he is anticipating the process to "come to an end soon and I will become a Jew."

 

 

Related.

 

Currently, the family consisting of Benjamin, Natalie and Aleph (son) are in Israel for the coming period of three months. The actress has been reportedly be busy in putting together her cast and crew for her directorial project "A Tale of Love and Darkness."  The debut revolves around the story of the memoirs of Amos Oz, an Israeli author. Amos Oz advocated a solution to the Israeli - Palestinian crisis that has been quite in the limelight recently.

 

 

 

 

 

 

 

 

 




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