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Tuesday, February 25


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7 replies to this topic

#1 dirac

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Posted 25 February 2014 - 12:26 PM

A review of the Royal Ballet in 'The Sleeping Beauty' by Siobhan Murphy for Metro.

Canadian dancer Matthew Golding’s first performance as a Royal Ballet principal was brought forward rather abruptly at the weekend due to an injured Rupert Pennefather......

 

He has athleticism to burn, no doubt, and makes a strong, intelligent partner but as yet there’s not a lot of personality on display to light up his performance and, rather alarmingly, his spins seemed to get away from him in his grand Act Three solo.

 

 



#2 dirac

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Posted 25 February 2014 - 12:30 PM

A story on the attack on Dominic Antonucci by Claire Carter in The Telegraph.

 

He retired from dancing in 2009 and was not due on stage following the attack, but was expected at the theatre to help with the performance and ballet dancers he teaches.

 

 

 



#3 dirac

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Posted 25 February 2014 - 12:32 PM

A review of San Francisco Ballet's 'Cinderella' by Pamela Feinsilber in The Huffington Post.

 

The ball scene is a prime example of clever reimagining. Here, under more than a dozen glowing chandeliers, Cinderella's stepmother quickly gets drunk, and her father spends most of the ball trying to keep her from embarrassing herself. As Cindi dances with her prince, the older couple continues to interact in a corner, their work a marvel of physical expression as he works at keeping her upright. The stepsisters, too, are less cruel, more clumsily competitive with each other, and hilarious.

 

 



#4 dirac

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Posted 25 February 2014 - 12:36 PM

"Afternoon of a Faun: Tanaquil Le Clercq" begins a San Francisco run on March 21.

 

Written and directed by Nancy Buirski, the documentary includes black-and-white films of Le Clercq in rehearsal and performance, with Jacques D'Amboise, of Afternoon of a Faun Jerome Robbins created for her.

 



#5 dirac

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Posted 25 February 2014 - 12:38 PM

A report on the fourth South African International Ballet Competition.

 

In the end, China emerged as the most successful competing nation with no fewer than six medals (five of them gold), and of the several dancers representing China, 14-year-old Yu Hang stood out for her exquisitely musical reading of a solo from La Esmeralda in the “scholar classical” category.

 

 



#6 dirac

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Posted 27 February 2014 - 02:22 AM

An obituary for Ivan Nagy by Anna Kisselgoff in The New York Times.

 

Nonetheless, it was the chemistry and power of the partnerships he established with Natalia Makarova, Gelsey Kirkland and Cynthia Gregory at Ballet Theater and on tour with Margot Fonteyn that seemed, fairly or not, to define his career. Never a great virtuoso, Mr. Nagy opted to be nothing less than a great partner.

 



#7 dirac

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Posted 27 February 2014 - 02:31 AM

A review of the Royal by Alastair Macaulay in The New York Times.

 

At myriad points with each ballerina, you could analyze the preparatory care that had been taken. But the Royal’s coaching tends now to turn the role of Aurora, and too many others, into lists of effects. This isn’t a new development at the company; it’s been evident with multiple dancers over more than 30 years.

 

 



#8 dirac

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Posted 27 February 2014 - 05:51 PM

Jillian Vanstone writes about stage hair.

 

That reaction illustrates how important a well-crafted hair-piece or costume is for the audience to believe in a character. It is not only the work of the dancers that can make or break a performance. Just as the right costume or hair can bring my performance to a whole new level, so too can the wrong costume hinder the work I have put into a role. If the cut of a costume is wrong, if the material is too heavy or too stiff, or if the hair style doesn't suit it can be so difficult to achieve the highest level of performance. The National Ballet is blessed with a wardrobe, shoe and hair department that works extremely hard behind the scenes to help us experience the transformation I described above, and to aid us in bringing the audience into the world we are creating.

 

 

 




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