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Wednesday, March 19


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#1 dirac

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Posted 20 March 2014 - 05:55 AM

Gillian Murphy will guest with Festival Ballet Theatre.
 

At the Irvine Barclay Theatre on Saturday and Sunday, Murphy will join about 40 Festival Ballet Theatre dancers who range from high school to middle age. Fellow American Ballet Theatre principal Cory Stearns will play the role of Albrecht, Giselle's duplicitous pursuer. The Fountain Valley company, which formed in 1988, last staged "Giselle" 10 years ago.

 

Murphy, a New York resident, expressed pleasure at returning to Orange County.

 

 



#2 dirac

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Posted 20 March 2014 - 06:01 AM

A feature on Misty Copeland by Emily Cadei for Ozymandias.

 

It doesn’t take more than a few minutes watching Copeland dance to understand what all the fuss is about. Those are some powerful limbs she’s sporting — the kind of thighs you could find on a track star, except that they go on forever. And as she pirouettes and pliés and jetés around the stage, they appear simultaneously light and lithe and yet strong as pistons, a mesmerizing display of physical movement.

 

 


 



#3 dirac

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Posted 20 March 2014 - 06:03 AM

Richmond Ballet will visit China next year.

The arrival of two guest artists from the world-renowned National Ballet of China who will share the stage with Richmond Ballet dancers during the company’s February performances of Don Quixote.

 

‘China’ will be the theme for the Ballet’s community outreach program, Minds In Motion.

 



#4 dirac

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Posted 20 March 2014 - 06:04 AM

A preview of Ballet San Jose's new program by Crystal Chow in The San Jose Mercury News.

 

First up is Nuestros Valses (Our Waltzes), one of the most famous works by Nebrada, the late Venezuelan dancer/choreographer. A playful homage to the waltz, Valses is set to the compositions of fellow Venezuelans Ramón Delgado Palacios and Teresa Carreño. Both artists were born in the mid-19th century. Their songs will be played by pianist Phebe Wusan, who will be providing the only live music that will be heard in this program.

 



#5 dirac

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Posted 20 March 2014 - 06:06 AM

A review of Manhattan Youth Ballet by Holly Kerr for Broadway World.

 

The performance on March 9 began with excerpts from George Balanchine's Children's Ballabile from his full-length Harlequinade, expertly staged Deborah Wingert, the head of the faculty and a Balanchine répétiteur. With its delightful set of Polichinelles, Harlequins, Pierrots and Pierrettes, and Scaramouches, this Ballabile offers entertaining and wonderful dances for different levels and ages of ballet students. All students admirably cavorted with aplomb throughout this joyful presentation.

 



#6 dirac

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Posted 20 March 2014 - 06:13 AM

Q&A with Tara Lee, who is making a new piece for Atlanta Ballet.

 

Is there a learning curve in being a choreographer that you could articulate? Do you feel like a different choreographer approaching work this time than you did, say, two years ago?

I do. I'm not nervous in the same way that I was. There's something I feel is guiding it that I'm trusting. I feel very at ease that it's going to turn out well and that we're all going to be happy with it. There were more moments of doubt before. I feel more calm. I think that's just experience, too. The dancers I can trust, they're amazing artists.

 



#7 dirac

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Posted 20 March 2014 - 06:39 AM

A review of Pacific Northwest Ballet by Melody Datz for The Stranger.

 

The world premiere of the evening, Spanish choreographer Alejandro Cerrudo's Memory Glow, exemplifies why this Chicago-based artist is a rising star in the dance world, but it is not the most memorable piece in Director's Choice. Perhaps that's because it came after Porretta's astounding performance, or perhaps because newer choreographers have the dreadful chore of learning their craft in the public eye, where we can detect the seeds of their genius but must wait until it matures into something really freaking cool.

 

 



#8 dirac

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Posted 23 March 2014 - 02:58 PM

A review of PNB by Anna Waller for Seattle Dances.

 

Stroman’s TAKE FIVE, naturally, featured the music of Dave Brubeck and Paul Desmond, and it provided a bright, cheery opener. Danced by six women in sherbet-hued dresses and five men in classic black shirts and pants, the choreography capitalized on percussive rhythms with precise foot and hand gestures. The precision, paired with smart repetition, also helped highlight the music’s uncommon time signatures, including the 5/4 that drives the famous song, “Take Five,” in the work’s final section. The dancers performed with balletic jazziness, and their clean delivery gave the piece a hint of depth beyond its lighthearted surface.

 




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