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dirac

Saturday, March 8

9 posts in this topic

A review of the Pennsylvania Ballet in "Carmina Burana" by Ellen Dunkel in The Philadelphia Inquirer.

Carmina Burana has been in the troupe's repertoire since 1966, when John Butler staged his 1959 work on Pennsylvania Ballet to Carl Orff's secular cantata. In 2007, choreographer-in-residence Matthew Neenan reinterpreted the ballet with new choreography, costumes, and sets.

For the anniversary, artistic director Roy Kaiser chose to acknowledge the Butler version's place in Pennsylvania Ballet history, but the company says Neenan's will be back after this season. Dueling Carminas? That's unusual, but both are worthy.

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The National Ballet of Cuba presents a mixed bill.

With Celeste, Belgium-Colombian choreographer Annabelle López Ochoa sent 10 dancers into space to follow three different personalities of a same star, embodied by the powerful artists Viengsay Valdés, Yanela Piñera and Jessie Domínguez.

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The The 14th Vancouver International Dance Festival gets underway.

In the Vancouver debut of Mustard Seed, the Guangdong Modern Dance Company collaborated with the Vancouver-based Goh Ballet Company to tell the story of a Buddhist metaphor in which a tiny mustard seed can encapsulate all the wonders in the world.

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A review of Yorke Dance Project by Luke Jennings in The Observer.

No Strings Attached, danced by the same six performers, was created by Charlotte Edmonds in 2013. Edmonds was then 16 and a student at White Lodge (the Royal Ballet junior school), where she had twice won its most prestigious choreography award. A coolly measured piece, set to the first movement of Michael Gordon's Weather, it matches the music's capricious swirl with full-body ripples and a low-slung neoclassicism. Gordon's composition is clearly influenced by Vivaldi, and Edmonds responds with swift, elegant passages danced in canon. As a dance work, No Strings Attached is both accomplished and sophisticated; as the creation of a student it's astonishing. "I love to dance," Edmonds tells me afterwards. "But choreography is my passion."

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Boston Ballet stages Ashton's 'Cinderella.' Story by Jeffrey Gantz in The Boston Globe.

Prokofiev’s music was in fact just four years old when Ashton took it up. “Cinderella” had been staged in Moscow in 1945 and St. Petersburg in 1946, but Wendy Somes, a former Royal Ballet principal who is overseeing the current Boston Ballet production, doesn’t believe Ashton could have seen either version. At the time, he was looking to do an evening-length work, and he was attracted to Prokofiev’s two ballets. “He did wonder whether to do ‘Cinderella’ or ‘Romeo and Juliet,’” Somes recalls. “But I have a feeling he did ‘Cinderella’ because he knew there was a part for himself in it, as one of the Stepsisters!”

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A review of Carlos Acosta's "Pig's Foot" by Félix Lizárraga for Cuban Art News.

Racial, political, literary, and metaphysical considerations aside, Carlos Acosta’s novel has a virtue that trips all others in the end: it is a good, gripping, satisfying read. I look forward to his next book as much as I look forward to any of his other many, variegated projects. (It also makes me wonder about that little metal cross I left behind in Barrancas, all those years ago. Where is it now? Perhaps it may have joined the pig’s foot?)

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An interview with Misty Copeland.

"In ballet there is a technique that was built and we still follow that technique. There was just something about the tradition that really drew me in. I think ballet in general was this safe haven that I had never experienced before in my childhood -- feeling like I had this beautiful and fun escape from my everyday life. I still think of it that way. It's a very sacred place -- the stage and the studio -- where you can kind of escape what's happening in the world."

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A review of Diablo Ballet by Carla Escoda for The Huffington Post.

A retrospective program, cousin to the dreaded gala, risks emasculating great work by taking excerpts out of context, or by senseless juxtapositions. But longtime Artistic Director Lauren Jonas keeps a firm hand on the rudder through turbulent seas of taste. And unlike many regional dance companies who have sacrificed live music in these hard economic times, Jonas and her board have their priorities right, continuing to serve up live accompaniment for three of the works on this fine program.

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An interview with former Boston Ballet principal Laura Young.

“We were pioneering night and day,” said Young. “That’s when we turned professional, with the benefit of Mr. Balanchine’s teaching.”

By 18, Young was promoted to principal dancer — front and center, with all eyes on her. She performed in an array of works, from classical to contemporary, eventually retiring in 1989 to teach.

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