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Thursday, March 27


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#1 dirac

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Posted 27 March 2014 - 04:32 PM

An appreciation of Constant Lambert by Terry Teachout in The Wall Street Journal.

 

It's inordinately difficult to resuscitate such lost souls, but Stephen Lloyd gives it his very best shot in "Constant Lambert: Beyond the Rio Grande," a 622-page biography published this month by Boydell Press that's as close to definitive as a biography can be. Mr. Lloyd gets absolutely everything right, including the gossip (among other exotic things, Mr. Lambert was a longtime lover of Margot Fonteyn, the celebrated English ballerina) and the dirty limericks (he wrote some of the funniest ones ever, none of them printable here). Far more important, Mr. Lloyd makes a compelling case for Mr. Lambert's continuing significance. He was a powerfully individual composer, an amazingly talented conductor and one of the most quotable critics ever to put pen to paper

 

 



#2 dirac

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Posted 27 March 2014 - 04:35 PM

Company director Julia Bennett has died at age 97.

They established the Dieman-Bennett Studio of Dance in 1951, followed 10 years later by their resident company, the Dieman-Bennett Dance Theatre of the Hemispheres. Known to everyone as Miss Dieman and Miss Bennett, they retired in 1996. Dieman died in 1999.

 

For more than a decade, they delighted audiences by staging “The Nutcracker” at the Paramount Theatre with the Cedar Rapids Symphony Orchestra, bringing in guest artists from the Joffrey Ballet, New York’s American Ballet Theatre, the Pennsylvania Ballet and Russia’s Kirov Ballet.

 

 

 

 



#3 dirac

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Posted 27 March 2014 - 04:36 PM

A story on Miami City Ballet's "Don Quixote."

Mary Carmen Catoya dances Kitri tonight and tomorrow night, with newly-promoted soloist Nathalia Arja taking the role for both matinees. Arja, who’s from Brazil, says the company’s Hispanic dancers really embraced their Don Q characters.

 

“We have this Latin energy we can really bring to the audience,” said Arja. “Since Kitri is also Hispanic, I put a little more spice into it. She’s always shimmying her skirt. Where I come from in Brazil, that’s what we do. It’s kind of in our body already.”

 



#4 dirac

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Posted 27 March 2014 - 04:37 PM

Sarasota Ballet photo gallery.

 

For this week’s collection of iShots, Robert Castro takes us behind the scenes of the Sarasota Ballet during one of its daily rehearsals. All photos by Robert Castro, enhanced with Instagram.

 



#5 dirac

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Posted 27 March 2014 - 04:39 PM

The story behind the composition of "April in Paris" by Pat Ryan in The New York Times.

 

Duke, born Vladimir Dukelsky in Russia in 1903 to well-to-do parents, had studied at the Kiev Conservatory, composed a ballet for Diaghilev’s Ballets Russes and lived in Paris. In 1929, he was in New York, befriended by George Gershwin.

 



#6 dirac

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Posted 27 March 2014 - 04:39 PM

Boca Ballet Theatre holds a fundraising event.

 

To support their Dance Fest in May, they’re doing a fundraiser at the Addison Gallery in Delray Beach, on Friday April 4th from 6-8 pm.

 



#7 dirac

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Posted 27 March 2014 - 04:40 PM

A review of "Afternoon of a Faun: Tanaquil Le Clercq" by Hedy Weiss in The Chicago Sun-Times.

 

Buirski’s film dances around the real reason Le Clercq and Robbins could not have a relationship (his sexual orientation), and the source of Le Clercq’s seemingly formidable financial reserves during the many decades she spent in a wheelchair. But she unquestionably captures Le Clercq’s spirit of grace and acceptance. And she reminds us of the all-too-brief but magical careers of all great dancers.

 



#8 dirac

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Posted 27 March 2014 - 04:43 PM

The USA International Ballet Competition returns to Jackson, Mississippi.

 

The first International Ballet Competition premiered in Varna in 1964 and eventually grew into a cycle of ballet competitions that rotated among the three cities of Varna, Moscow and Tokyo. In 1975, the Jackson Ballet Guild invited Thalia Mara, renowned ballet teacher and educator, to develop a professional ballet company and school for the state of Mississippi. As a part of her development plan, she introduced city leaders to the idea of ballet competitions and convinced them to secure the USA IBC for the city of Jackson.

 

 

Related.

 

White says the competition is very much a high-profile part of the state’s push for a creative economy and comes during the Year of the Creative Economy as proclaimed by Gov. Phil Bryant. “This event affects the work force, the local economy and tourism like a big movie production company coming to town,” he said. “The IBC visitors are at the top of the list for money spent, and their average stay is three times the average stay of other tourists, which is two and a half days.”

 

 



#9 dirac

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Posted 27 March 2014 - 04:44 PM

A preview of Milwaukee Ballet's "Spring Series."

 

Annia Hidalgo catches the eye, dressed in shining silver shorts. She darts and flows and gives herself with total abandon to her partner, the stately and expressive Davit Hovhannisyan. Love, passion and sexual tension are on vivid display. Hidalgo is as tiny and lithe as a single daisy coming out of a field of grass, but she has the kind of power you see in world class athletes, gymnasts, track and field stars. She is a seriously lovely dancer, and the two of them take your breath away.

 



#10 dirac

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Posted 27 March 2014 - 04:46 PM

Monica Mason, or rather her picture, is now hanging in the National Portrait Gallery.

 

Artist Saied Dai met his subject shortly before her retirement in 2012, after a distinguished career that saw her perform with Rudolf Nureyev (pictured right between Diana Vere and Mason in 1970) and nurture the careers of such celebrated choreographers as Wayne McGregor and Christopher Wheeldon.

 

 

Related.



#11 dirac

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Posted 28 March 2014 - 05:00 PM

A review of the Birmingham Royal Ballet in 'The Prince of the Pagodas' by Hanna Weibye for The Arts Desk.

 

With such visual seduction, and a delicately-textured performance of the score from the Royal Ballet Sinfonia, it’s a real shame that Bintley’s story treatment can’t quite deliver magic to match. He has revolved family relations so that the villain becomes the Princess’s stepmother (not sister) and the Salamander Prince becomes her long-lost brother. Though this allows for some gains – particularly the increased threat posed by the evil Empress, played as coolly sinister by Elisha Wills, and a mime sequence for the childhood backstory which is a true delight of storytelling (also a rare instance in ballet of a non-irritating use of children on stage) – it also means sex is not available as a driver of relationships.

 

 




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