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Sunday, March 9


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#1 Mme. Hermine

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Posted 10 March 2014 - 06:27 AM

A review of Svetlana Lunkina's performance in Swan Lake with the National Ballet of Canada:

 

http://www.thestar.c..._swan_lake.html

 

 

It was the moment ballet fans had waited for and when the National Ballet raised the curtain Saturday on a revival of Swan Lake featuring former Bolshoi star Svetlana Lunkina, they had cause to celebrate.

 

Ever since the Russian ballerina announced in early 2013 that she’d sought refuge in Toronto from sinister goings-on in Moscow, local fans wondered how long it would be before Lunkina was signed by the local team.

 

 



#2 Mme. Hermine

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Posted 10 March 2014 - 06:35 AM

Laura Bleiberg reviews Les Ballets de Monte Carlo in "Lac":

 

http://www.latimes.c...y#axzz2vZQkADXF

 

 

The classical repertory is a never-ending temptation for ballet choreographers to revise to suit their visions. But something fetid happens when updating “Swan Lake,” to Peter Tchaikovsky’s 19th century musical masterpiece.

 

The rare successes notwithstanding (think Matthew Bourne’s male swans), each succeeding generation aims low, then sinks lower. The shock values pile up for no purpose other than their own sake.

 

 



#3 dirac

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Posted 10 March 2014 - 11:11 AM

A review of the Washington Ballet by Ashkey McKean for danceviewtimes.

 

But it was Mack who gave a performance to behold as the central male figure. His solos throughout, and particularly in “Mother Nature’s Son” and “Golden Slumbers”, were powerful and honest, showing great emotional depth. Mack’s beautiful classical and contemporary lines suggest that he is a rare dancer who can move easily between both styles. His was a stunning performance—technically brilliant, completely committed, and holding nothing back.

 

 



#4 dirac

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Posted 10 March 2014 - 11:12 AM

A review of the Joffrey Ballet by George Jackson for danceviewtimes.

 

Right away in “Interplay” the dancers’ attack, especially that of the men, was sharp, clean, classical. Jerome Robbins’s kids had always made a softer, more romantic impression on me, ever since my first “Interplay” soon after its premiere. Not surprisingly, the edgy firmness suited the automata/dancer hybrids who populate Welch’s update on the Bauhaus’s “Triadic Ballet”. Disciplined stamina showed up, too, in Tharp’s pairs on their ways to ballrooms or bedrooms. No question but that Ashley Wheater, current director, and his ballet masters Nicolas Blanc and Gerard Charles, are putting their stamp on the Joffrey image.

 

 




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