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Saturday, March 1


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#1 dirac

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Posted 02 March 2014 - 05:55 AM

A review of Ballet Black by Luke Jennings in The Observer.

 

Cassa Pancho founded Ballet Black in 2001 to provide a showcase for classical dancers of black and Asian descent and to introduce ballet to new audiences. Since then the company has gone from strength to strength, performing a highly diverse repertoire. Over the years, it's been fascinating watching BB's evolution. The men, currently headed by Damien Johnson, have always been notable for their chivalrous partnering and fine stage manners. Old-school, self-deprecating charm is the keynote of the house style, and very attractive it is.

 

 



#2 dirac

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Posted 02 March 2014 - 05:56 AM

Dance Theatre of Harlem visits Utah

 

Johnson is upbeat about the future but understandably nervous about what she calls the "money-in-money-out" responsibilities of her job. In 2004, while Johnson was still a dancer with Dance Theatre of Harlem, the company announced a $2.3 million debt that forced it to shutter the performing company. It was a devastating blow after 35 years of touring the world and busting long-held myths about people of color and classical ballet.

 

 



#3 dirac

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Posted 02 March 2014 - 05:58 AM

An interview with Jean-Christophe Maillot by Victoria Looseleaf in The Los Angeles Times.

 

Those insights, Maillot said, are references to the Black Swan being the illegitimate child of Siegfried's father (the King) and Siegfried as homosexual. But whatever audiences read into the scenario, with the backdrop of Ernest Pignon-Ernest's sleek, neo-modernist sets and Tchaikovsky's indelible score (heard on tape, somewhat truncated), the choreography is top-notch. It's razor-sharp and intricate, with quivering bourrées accentuated by backward corps stomping, gossamer arms and spectacular lifts, all articulated by stunning performers.

 



#4 dirac

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Posted 02 March 2014 - 06:02 AM

Darcey Bussell writes on Fonteyn and Pavlova for Radio Times.

 

For generations before me, Fonteyn was ballet; one of those rare artists who imprint themselves on the nation’s consciousness. Fonteyn almost single-handedly propelled the Royal Ballet and its English style onto the international stage. Margot Fonteyn was revered and admired by all who knew her and saw her dance. She came to a few of my rehearsals, and the experience was simply unforgettable.

 



#5 dirac

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Posted 02 March 2014 - 06:03 AM

An interview with Natalia Osipova by Mark Monahan in The Telegraph.

 

She was born in Moscow in 1986. In her youth, gymnastics led to ballet, even if it took time for the latter to impress her. “After gymnastics,” she says, “you have a really strong base, and it was quite easy for me to start ballet. But it was really boring,” she continues, grinning, “and really funny to see boys in those tights. I had come from sport, and everybody in ballet seemed so cute, with pretty pins in their hair. Everybody thought that I was naughty, that I was not a good girl.”

 



#6 dirac

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Posted 08 March 2014 - 10:26 PM

A preview of the BBC's ballet season by Hanna Weibye for The Arts Desk.

 

Do four programmes constitute a season?  Let's not quibble too much; though brief, the ballet season airing on BBC2 and BBC4 this week has some appealing offerings. Judging from the strong focus on famous names (Fonteyn, Bussell) and the best known Tchaikovsky ballets, the Beeb is aiming at a broad general audience, but balletomanes will be happy to see several eminent dancers crop up as talking heads, as well as lots of lovely footage of both contemporary and historic performances.

 

 




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