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Wednesday, February 12


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#1 dirac

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Posted 12 February 2014 - 06:02 PM

A response from Judith Mackrell to recent comments on today's dancers by Gillian Lynne and Beryl Grey.

 

Grey and Lynne acknowledge that today's performers are technically impressive, but it's a trend they don't care for. Grey feels that contemporary ballet is too much like "a circus" and both she and Lynne argue that gains in physical expertise are being made at the expense of emotional depth and dramatic expression: ballet as empty acrobatics, ballet as extreme physical sport. Grey and Lynne have certainly worked with enough great dancers and choreographers to have earned the right to judge. Yet isn't it also the natural order of things for one generation to criticise the taste and attitudes of those that follow them?

 

 

 



#2 dirac

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Posted 12 February 2014 - 06:04 PM

Alina Cojocaru is interviewed by Rachel Howard in The San Francisco Chronicle.

Then, with typical thoughtfulness, she added, "To be honest, I was hoping to leave the Royal Ballet story behind. I'm so over it. It's simply, you've gone as far as you can go, so you must move on to continue the journey. Of course it was a sad decision - I did think that would be home for me forever." ......"But the art form of ballet, it needs constant development, you must keep stretching your abilities as an artist. If you feel that's no longer happening where you are, you open your eyes and look at the wide world."

 

 

 



#3 dirac

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Posted 12 February 2014 - 06:07 PM

Pittsburgh Ballet Theatre announces its 2014-15 season lineup.

 

To begin the new year, PBT will present in February 2015 for the first time the full-length story ballet "Beauty and the Beast" by Lew Christensen of San Francisco Ballet. When Mr. Orr was part of the company under Mr. Christensen's direction he had the opportunity to dance in the work. It is set to music by Tchaikovsky.

 

 

 

Related.

Pittsburgh Ballet Theatre's 45th season will feature five productions, ranging from classical ballet to premieres and revivals of contemporary repertoire. Two will feature live music by the Pittsburgh Ballet Theatre Orchestra.

 

 



#4 dirac

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Posted 12 February 2014 - 06:08 PM

Milwaukee Ballet presents a choreographers' showcase.

 

The company's annual Winter and Spring Series performances are built of new works, some of them the result of the Genesis International Choreographic Competition that the Milwaukee Ballet holds every other year.

 

This year's Winter Series, which opens on Thursday, will feature works by two of Genesis' winners, Gabrielle Lamb (2013) and Timothy O'Donnell (2009), as a well as a piece by renowned Italian choreographer and stage director Luca Veggetti.

 

 



#5 dirac

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Posted 12 February 2014 - 06:10 PM

An article on the realities of a female ballet dancer's life.

 

A ballerina's timetable is as intense as we thought, and on occasion, dancers endure up to 10 hours of fatiguing physical exercise a day. 'Back in the day it was a 9am class at the studios then rehearsals all day for that evening and/or for the next show in line,' tells Jackie. 'Bear in mind ballet dancers don't just do one whole run of a show like in musical theatre or acting,' continues the former corps de ballet. 'You could be rehearsing for two different classics and a couple of triple bills all in one week.'

 

 



#6 dirac

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Posted 12 February 2014 - 06:11 PM

The Alabama Ballet presents "Romeo and Juliet."

The 2003 production starred Tatiana Ledovskikh and Van Fleteren in the first cast, and Jennifer Lauren and Kfir Danieli in the second. The current production will give four ballerinas their first chance as Juliet. Luiza Boaventura, Samantha Galler, Catherine Garratt and Chinatsu Owada will dance opposite Noah Hart, Max Van Der Sterre and Michael Fothergill as Romeo.

 

They have their work cut out for them.

 



#7 dirac

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Posted 15 February 2014 - 01:04 PM

Pacific Northwest Ballet announces plans to drop the Nutcracker designed by Maurice Sendak.

 

Sales for “Nutcracker,” he said, have been lagging since the recession. Since hitting an all-time high of $6.2 million in 2007, ticket revenue has fluctuated, dropping as low as $4.7 million in 2011 and rebounding to $5.4 million in 2013. The company’s research also showed, Boal said, that typically 67 percent of “Nutcracker” audiences didn’t attend the previous year.

 

 

 

Related.

 

Organizers of the PNW ballet said Sendak’s costumes will be put into storage, and could come out again someday. But not anytime soon.

 

 

 

The Seattle Times offers readers a poll on the wisdom of changing Nutcrackers.

 

How about you? Are you ready for a change or happy with the tried and true? Vote in our “Nutcracker” poll to share your opinion.

 

 

 


#8 dirac

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Posted 15 February 2014 - 01:09 PM

A preview of the Royal New Zealand Ballet's New York engagement by Robert Johnson in the Star-Ledger.

Millepied created his "28 Variations on a Theme by Paganini" for the School of American Ballet in 2005, making the ballet’s return from the Antipodes something of a homecoming; while Simmons created his ballet "Of Days" last year for RNZB’s 60th anniversary celebrations.

 

"It’s important to promote Kiwi talent," Stiefel says.

 

 



#9 dirac

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Posted 16 February 2014 - 04:30 AM

A review of Hamburg Ballet by Janice Berman for San Francisco Classical Voice.

 

Neumeier’s though, is great fun. He is a practitioner of opera house ballet — you walk in, sit down, slow down, relax, let your gaze roam as the assembled and arrayed talents come and go, take in Jurgen Rose’s fantastic costumes and scenery, and let the thing pull you along, gradually. You don’t pull it. All will be resolved — but all in due time. The choreography is particularly flattering to the corps. But the dances sometimes feel aimless.

 

 



#10 dirac

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Posted 16 February 2014 - 01:08 PM

Jane Chu is nominated as the new head of the National Endowment for the Arts.

 

Since 2006, Chu has been president of the Kauffman Center for the Performing Arts in Kansas City where she oversaw completion of the sprawling center — a $326 million project finished in 2011 using private funds.

 

 

 

Related.

Adjusting for inflation, the NEA's funding remains far below where it stood early in the Clinton administration. Severe cuts were enacted after Republicans gained a House majority in 1994 and made "culture wars" a cornerstone of the GOP's campaign to brand Democrats in general and the NEA in particular as out of step with mainstream American values.

 

Funding had partially recovered after 2000 under George W. Bush and Obama before falling again.

 

 




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