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Monday, April 7


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#1 dirac

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Posted 07 April 2014 - 04:33 AM

A review of the English National Ballet by Neil Norman in The Daily Express.
 

 

Thematically linked by The Great War, the programme provides much nourishment for brain and eye. Liam Scarlett's opening work, No Man's Land, is a fine example of how a young dancemaker can borrow from a master and make it his own.

 

.......The parade of tin-hatted Tommies and a concluding pas de deux of psychological weight inevitably invites comparisons with Kenneth MacMillan's WWI masterpiece Gloria, on which this is clearly modelled.

 

 

The Week offers a roundup of the critical reactions to the "Lest We Forget" program.

 

"This is exactly the kind of shot in the arm that English National Ballet needs," says Debra Craine in The Times. Three of Britain's top choreographers have created ballets that ignite the repertoire with their passion and reach.

 



#2 dirac

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Posted 07 April 2014 - 04:38 AM

An item on Misty Copeland.

 

"It's really hard. The classical ballet world is so far behind," Copeland told ABC News' Dan Harris in an interview for This Week.

 

 

A link to the referenced story on "This Week."



#3 dirac

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Posted 08 April 2014 - 04:41 PM

A review of New Chamber Ballet by Siobhan Burke in The New York Times.

 

 

More inspired was the premiere of Mr. Magloire’s “Tilting and Leaning,” for Sarah Atkins, Traci Finch and Amber Neff. The title doesn’t do justice to the inventiveness of the action: their weight-sharing, limb-locking, head-butting and other modes of manipulating one another’s bodies, often in deliberately arduous ways. Pierre Boulez’s “Notations,” as delivered by Melody Fader on piano, reflected their sense of discovery. Sarah Thea Swafford’s costumes — maroon bodysuits with sheer accents, black point shoes — were appropriately stark.

 

 

 



#4 dirac

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Posted 08 April 2014 - 04:59 PM

A review of New York City Ballet by Ashley McKean for danceviewtimes.

 

In contrast to Mearns’ expansive phrasing was Hyltin’s visualization of the musical accents in Stravinsky’s Capriccio for Piano and Orchestra that accompanied “Rubies”.  Hyltin has a delicate physique, but she moves stunningly fast, going from complete stillness to explosive speed and then back again, at times resembling a racehorse, with the control to stop on a dime. If the connection between Mearns and la Cour in “Diamonds” seemed attenuated, Hyltin’s connection with her partner, Gonzalo Garcia, was electric, and their pas de deux looked like a master class in Balanchine technique and style.

 



#5 dirac

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Posted 08 April 2014 - 05:01 PM

A review of Les Ballets de Monte-Carlo in "LAC (After Swan Lake)" by Marianne Adams for danceviewtimes.

 

But the conception wasn’t just a modified plotline with updated steps and modernized costumes (not a tutu in sight). It was also an unabashed portrayal of the characters at their most primal.  The swans here were wild birds, not swan-maidens, full of feral instincts constantly reverberating in their jerking movement. They didn’t seem to be captives of Her Majesty – at best they were her reluctant subjects. The humans were also stripped of fairytale pretenses; their flaws, weaknesses and untamed desires were bared for all to see. Incest, adultery, murder, unguarded passions – it’s all fair game in “LAC.”

 




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