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dirac

Saturday, March 22

10 posts in this topic

Ballet La Crosse performs next month.

Written and choreographed by Ballet La Crosse artistic director Kennet Oberly and featuring music by singer-songwriter Carol Montag, “The Poems That Rachel Wrote” is a modern spin on the timeless themes of self discovery and growing up.

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A review of Ballet San Jose by Rita Felciano in The San Jose Mercury News.

At times all these one-on-one encounters stretched my patience. Yet Carreno's programming, as a friend pointed out, allowed focused attention on individual dancers. Several of them are new; many of them were from the Corps, which rarely offers that kind of opportunity in the spotlight.

Overall, Carreno gave us a pleasant evening of decent, well-performed work by respected choreographers. Not a bad way to build a company and an audience.

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A review of Madison Ballet by Katie Reiser for The Daily Page.

Last spring Madison Ballet capably presented its first Balanchine work, "Valse Fantasie," validating its status as a solid regional ballet company. This weekend, is a rare opportunity to see a Balanchine piece -- "Who Cares?" -- performed locally. Staged by Michelle Gifford from the New York City Ballet Trust, this streamlined concert version of the original, which premiered in 1970, is playfully romantic and features a lush Gershwin score.

Askegard performs every male role. He is paired with Marguerite Luksik, Shannon Quirk and Butler, and he dances a swingy solo of his own, which is all smooth moves and laid-back command of the stage......

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A review of Ballet Victoria by Amy Smart in The Times Colonist.

As a smaller company in the national and international dance landscape, Ballet Victoria doesn't often have the opportunity to invite guest choreographers, which usually come at a significant expense.) And while artistic director Paul Destrooper knows what he’s doing, it’s refreshing to see three distinct voices in the program. The first half was dedicated to those guests.

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BalletMet and Cincinnati Ballet give a joint performance.

Next was Bolero, choreographed by Cincinnati Ballet artistic director Victoria Morgan. The music of Maurice Ravel was the backdrop to a kind of “seven ages of man” for balletomanes. Rows of BalletMet Academy students were gradually supplanted by adult Cincinnati Ballet dancers. Most striking among them was Cincinnati Ballet’s Janessa Touchet, who in her pas de deux with Rodrigo Almarales displayed flawless technique and had sass to spare.

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José Mateo talks about traveling.

“I think it is an intrinsic part of our nature to explore something beyond our immediate environment,” says José Mateo, founder and artistic director of Cambridge-based José Mateo Ballet Theatre. But getting away isn’t always easy: “My whole career here has been looking for time to travel.” When he does get away, Mateo, a Cuban citizen, carries a teal blue “Travel Document” issued by the US Citizenship and Immigration Services. “It’s a passport, essentially,” he explains, and the most recent one holds the stamps from Mateo’s trip to South Africa last year.

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Jessica Lange and Mikhail Baryshnikov go for a walk.

The duo, who have a 33-year-old daughter together, were seen taking a stroll in the East Village in New York City on Saturday.

Dressed in their winter attire, they seemed to be battling the cold winter wind, but their demeanour appeared friendly and warm towards each other.

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A review of "Kings of the Dance" by Luke Jennings in The Observer.

Roberto Bollé is a principal dancer at La Scala and an internationally successful male model with the Ford agency. It cannot be easy to be Italy's most perfectly sculpted man, but Bollé accepts his destiny philosophically. In Prototype, by Massimiliano Volpini, he performs basic classroom steps against a projection of retro-style graphics and close-ups of his own musculature. He then fences against a computer-animated version of himself before accompanying multiple Roberto Bollés in a final dance number. Even the most ardent Bollé enthusiast (they call themselves "Bollerini") would concede that this is a somewhat narcissistic work, revealing little of the heart that beats beneath those rippling pectorals. The programme closes with Gomes's KO'D, a cheerful wrap-up piece which reunites all five dancers. But it's been a thin evening, and the choreographic choices indicate a dismaying lack of discrimination on the part of all concerned.

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A profile of Emma Thompson mentions a new ballet adaptation of "Nanny McPhee."

....Created with the help of dancers from the Royal Ballet by the London Children's Ballet, it will mark the 20th year of the company and run at the Peacock theatre.

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A feature on the life and career of Jean-Baptiste Lully by George Hamilton in The Independent.

By all accounts he was a star violinist, but it was his ability as a dancer that caught the youthful monarch's attention. They performed together in a ballet put on for the entertainment of the court, and not long after Lulli became composer-in-residence to the king.

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