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Tuesday, March 18

12 posts in this topic

A review of Wayne McGregor's Random Dance by Robert Johnson in The Star-Ledger.

For audience members sitting comfortably in the Alexander Kasser Theater in Montclair, where British choreographer Wayne McGregor’s multi-media production of "Atomos" made its U.S. debut on Saturday, the image may not seem particularly frightening. We have lived with the threat of nuclear war for so long. It’s hard to accept the unpleasant truth that, if peace-keeping efforts fail, an explosion like this one may be the last thing any of us sees.

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The schedule for the 2014 Edinburgh International Festival is announced.

This year's festival will also tie in with the Commonwealth Games in Glasgow, with artists and companies from Canada, Australia, New Zealand and South Africa all in attendance. One very special gala show will celebrate the 20th anniversary of the beginning of democracy in South Africa with the world premiere of a new ballet, Inala. Composer Ella Spira and Ladysmith Black Mambazo have written the music for the show, with Ladysmith Black Mambazo in attendance to perform live alongside the ballet, featuring dancers from Rambert and The Royal Ballet, choreographed by Mark Baldwin.

Related.

Among the highlights of this year’s programme will be a dance extravaganza inspired by an epic centuries-old Hindu battle, Russia’s Mariinsky Opera company tackling 19th century opera The Trojans, and a showcase of the work created by Federico Garcia Lorca, an artist whose life was cut short when he was executed at the start of the Spanish Civil War.

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A review of Pacific Northwest Ballet by Moira Macdonald in The Seattle Times.

Choreographed by Alejandro Cerrudo, with masterful lighting by PNB’s Randall G. Chiarelli, “Memory Glow” is the anchor for “Director’s Choice,” a repertory program of contemporary works. Like the image suggested by the title, the effect is of something haunting yet indistinct; a series of arresting pictures and moods; at times dark (a female dancer is dragged, lifted and pulled across the floor by a vaguely threatening male ensemble), other times playful. Danced with fluid exuberance by a cast mostly made up of corps de ballet members, “Memory Glow” is a pleasing if uneven work, leaving its viewer wondering what it meant but eager to see it again.

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After a turbulent period Ballet Kelowna ends the fiscal year in the black.

That profit will be rolled back into establishing a new business plan.

Since announcing it was ceasing operations in February of last year due to financial constraints and dwindling audiences, the Kelowna company has risen from the ashes through financial support from the public and a new vision by a new board of directors

.

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Q&A with Devin Alberda.

A lot of your photos depict the more realistic aspects of ballet. What do you think is the benefit of showing the nonromanticized side of working for a ballet company?

A lot of dancers and people in the dance world have grappled with how much we show behind the proscenium. I obsess over Gary Winogrand’s work, and I think the beauty he captures is fleeting and real and gritty. In some ways, this is more powerful than the intentionally beautiful shots you would expect, especially in the ballet.

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The Paris Opera Ballet wins the Jerome Robbins Award.

Robbins, who died in 1998, enjoyed a close relationship with the Paris Opera Ballet, which he often described as his second family and which has 14 of his ballets in its repertory. (New York City Ballet, where he was associate director during George Balanchine’s lifetime, and joint artistic director with Peter Martins between 1983 and 1990, retained first place.)

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A story on dancer Matthew Leonardi's recovery from a rare ailment.

Os trigonum syndrome is a rare injury which occurs when the leg and the foot act like a nutcracker, crushing the pea-sized bone and causing severe pain. The condition is most common in dancers who are constantly pointing their feet.

Pfeffer says the problem is often missed because cartilage surrounding the os trigonum means it's only visible on a high quality MRI.

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A review of Les Grands Ballets de Montreal in "Rodin/Claudel" by Cristiana Iulia Ilea in The Concordian.

Beginning with the first scene, the décor impresses by its simplicity and neoclassical features. It is composed of a long white box that changes its position from scene to scene and a wall of lights that changes its minimalistic pattern, both are used to evoke the place where the characters are found (in a room, in the woods). Using less rigid, more flowing contemporary movements filling each corner of the stage, the dancers immerse the audience in the real-life love story of Rodin and Claudel governed by very well chosen music.

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Houston Ballet brings "Aladdin" to Chicago.

And there's a lot of dancing, Bintley says. He describes his style as "definitely from across the Atlantic. I have so much respect for Balanchine and Robbins, but I'm much more of the Ashton and MacMillan schools," focused on dance narratives filled with psychologically telling detail. In "Aladdin," Bintley says, he uses "an 'open' language based on classical language. A lot of my work is more contemporary, but not this particular ballet."

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A review of Pacific Northwest Ballet by Sandra Kurtz for Seattle Weekly.

The program closes with a premiere: Alejandro Cerrudo’s Memory Glow is a slippery and twisty ensemble work reminiscent of Jiří Kylián, who’s been such an influence on European contemporary dance. Cerrudo seems to have lubricated the air inside McCaw Hall........(At one moment, Raphaël Bouchard surfs halfway across the stage to arrive with a flourish, rather like Tom Cruise in Risky Business.) Partner work resembles an advanced class in knot-tying, with limbs folding and twining, only to have it all slither apart in the end. We’re left with a memory of wild activity, retreating into darkness.

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An interview with Evan McKie.

A lyrical dancer, he is the first – and, to date, the only – Canadian ever to headline the Paris Opera Ballet, the world’s oldest surviving ballet company, and the only one after Karen Kain to perform with the Bolshoi in Russia.

“I laugh at those who want to compare ballet to an Olympic sport,” McKie says. “Ballet is more than turns and double cabrioles. It is telling stories with your body … communicating your passion.”

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A Colorado Ballet photo gallery. (Link courtesy of YouOverThere. Thanks!)

Choreographer Sandra Brown leads a rehearsal of The Last Beat, at the Colorado Ballet in Denver, CO March 13, 2014. Colorado Ballet will close the season with Ballet Director’s Choice, March 28-30, 2014 at the Newman Center for the Performing Arts at the University of Denver.

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