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Thursday, February 20


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11 replies to this topic

#1 dirac

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Posted 21 February 2014 - 12:26 AM

Brian Seibert writes on the choreography of Justin Peck in The New York Times.

 

“Capricious Maneuvers,” the eight-minute romp of a curtain raiser that Mr. Peck made for City Ballet’s 2013 Fall Gala, was fun, deftly fulfilling the assignment to work with a fashion designer. But on May 8 comes a much bigger test. Like “Rabbit,” Mr. Peck’s new work, as yet untitled, will use music by Sufjan Stevens, but this time, the score is commissioned. There is to be a cast of 25, a set by the sculptor Karl Jensen. It’s a major production and a “can he fulfill his early promise?” moment. The Messiah watchers will be watching. 

 

 



#2 dirac

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Posted 21 February 2014 - 12:30 AM

Girls will be happier (and prettier) doing "feminine" sports and activities, explains Britain's "sports and equalities" minister.

 

“There are some wonderful sports which you can do and perform to a very high level and I think those participating look absolutely radiant and very feminine such as ballet, gymnastics, cheerleading and even roller-skating.”

 

 

 The Guardian

 

Women who feel "unfeminine" when playing sport could take up other activities like "ballet, gymnastics, cheerleading and even roller-skating", the minister of sports, equalities and tourism Helen Grant has suggested. She said that the key to increasing female participation in sport was to give women "what they want".

 

 



#3 dirac

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Posted 21 February 2014 - 12:34 AM

Reactions to "Big Ballet."

 

Metro

 

However, a nagging doubt remained about what could have been a welcome boot up the tutu for ballet’s often criticised body fascism. Rather than lumping a load of big dancers together, surely a truly revolutionary approach would have been a Swan Lake that broke every kind of size and shape boundary?

 

 

The Telegraph

 

The performance was accomplished and certainly not laughable. More engrossing, however, was observing the effect of this success on the dancers. Dance graduate Emma Roby, who works in a sweet shop, said that she used to be sent to the back of her ballet class to blend in with the boys. Performing for Sleep gave her back her confidence. Hannah started ballet lessons at three, but gave up auditioning two years ago, feeling “trapped” by her size. The show, she said, had given her “freedom”.

 

 

The Guardian

 

That first generation of ballerinas hated the leotard, and many who'd never considered the idea of dieting suddenly became conscious of their weight. Alexandra Danilova, who had been surviving on semi-starvation rations in the chaos of post-revolutionary Russia, had defected to the west in 1924, to join Sergei Diaghilev's Ballet Russes. Two years later, in a bizarrely ironic reversal, she found herself experimenting with diet pills, taking so many that on one occasion she passed out.

 



#4 dirac

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Posted 21 February 2014 - 12:37 AM

Reviews of San Francisco Ballet.

 

The Huffington Post

 

The chords and instrumentation becomes more complex with the entrance of Vitor Luiz. The pas de deux is at first gamesome and flirtatious. With another shift in harmony and the addition of brass and strings, the interchange between the duo is increasingly passionate and muscular. Recalling their opening night performances in Giselle and the dramatic clarity of their storybook characters, Lorena Feijóo and Vitor Luiz are likewise masters of the abstract. Tears has no characters, there is no plot. The two worked closely with Caniparoli, translating his core inspirations around the element of water into a ballet that would incorporate eight additional dancers. Since the score has no signature melodies or leit motifs, the task was to create certain lengths of choreography that would fit throughout the work's twenty-two minutes of unrelenting rhythm. The plan made the drill of the rehearsal process more user-friendly. With successive casts, any perceived messaging rests in the energy and aura of the individual dancer.

 

 

The San Jose Mercury News

 

Composer Steve Reich's "Variations for Strings, Wind and Keyboard" echoed the sound of natural events by creating a wall of pointilistic sensation that subtly, almost imperceptibly shifted. Yet those same phase patterns showed up nowhere in the dance that was clear or had an impact. Caniparoli is a fine craftsman, but here it worked to his disadvantage. The three duets were presented in traditional fashion, and Sandra Woodall's costuming never broke the ballet mode. Had Caniparoli found a way to push the traditional lyricism of his dance hard against the minimalist soundscape, he might have tied tears not only to individuals but to time, loss and change in a more cogent and haunting way.

 



#5 dirac

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Posted 21 February 2014 - 12:40 AM

A review of Jessica Lang Dance by Gia Kourlas in The New York Times.

 

One point is undeniable about Jessica Lang: She is prolific, having created more than 80 dances since she started working as a freelance choreographer in 1999. But what drives her vision? After the curtain fell on the last of six pieces presented by Jessica Lang Dance at the Joyce Theater on Wednesday, I still wasn’t sure.

 



#6 dirac

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Posted 21 February 2014 - 12:44 AM

Rachel Moore is interviewed by Manuela Hoelterhoff for Bloomberg Businessweek.

Hoelterhoff: How many more arts managers can we absorb? Some of the programs seem dubious. 

 

Moore: There’s not enough focus on finance. If you don’t have the numbers under control, how can you be creative in other areas? You need accounting classes so you can balance the books. And I found intellectual property law and labor law really useful. 

 

 



#7 dirac

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Posted 21 February 2014 - 12:50 AM

The 5-year old mare L'Amour de Ma Vie wins the Balanchine Stakes.

 

L'Amour de Ma Vie, trained in France by Pia Brandt, finished second behind Certify in the Cape Verdi, but comprehensively reversed the form, scoring by a length and three-quarters in the hands of Maxime Guyon.

 

 



#8 dirac

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Posted 21 February 2014 - 12:59 AM

Ballet Manila closes out its eighteenth season.

 

After making their debut in last year’s “Ballet & Ballads,” for which they won an Aliw Award as Best New Artist, the West End Mamas composed of Gia Macuja-Atchison, Cez Campos-Bonner and Maya Barredo-Duffy are joined this year by their respective husbands – the West End Papas: violinist/conductor Robert Atchison, and singer/actors Nick Bonner and Gerard Duffy. All six are seasoned performers boasting of various engagements in London’s famed theater row.

 

 



#9 dirac

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Posted 21 February 2014 - 01:00 AM

The Harris Theatre will be closed for repairs till next month after an electrical fire.

 

The longer closure, a significant and costly blow to the non-profit arts venue, means that such scheduled events as Alonzo King LINES Ballet, Chicago Opera Theater ("Queenie Pie") and the Joffrey Academy of Dance Choreographers of Color Awards all will need to be rescheduled.

 

 



#10 dirac

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Posted 27 February 2014 - 02:27 AM

A preview of Danse: A French-American Festival of Performance and Ideas by Gia Kourlas in The New York Times.

 

Antonin Baudry, cultural counselor of the French Embassy, said, “It’s been a long time since there has been something relevant about French dance in New York, so these are our questions: Where are we now on dance? What are the new forms of dance? How did the French influence the U.S., and the U.S. influence the French?”

 

 



#11 dirac

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Posted 27 February 2014 - 05:54 PM

A review of James Kudelka's "Malcolm" by Paula Citron in The Globe and Mail.

The set is important. Designer Simon Rossiter has placed a chair on a riser for Kudelka and Malcolm. The riser, in turn, is very close to the baby grand piano so Malcolm can have a closer interaction with the piano and the pianist. Kudelka’s demeanour is solemn. The eyes behind his glasses have a melancholy look. Malcolm, cradled in Kudelka’s lap, appears to share this aura of sadness. This is the fascinating part – that Malcolm’s seemingly blank stare takes on various moods as the piece progresses.

 

 

 



#12 dirac

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Posted 13 March 2014 - 09:21 AM

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

 

Makarova, who took a bow Friday night, dedicated the current performances to the memory of her husband, San Francisco industrialist Edward Karkar, who died last December. Bayadère is based on her memory of dancing in it at the Kirov (now Maryinsky) Ballet; her full-length version is in the repertory of American Ballet Theatre.  The richness of Act 2 made this onlooker wish Artistic Director Helgi Tomasson would ask Makarova to bring on the rest of it.

 

 




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