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Tuesday, April 8


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#1 dirac

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Posted 08 April 2014 - 04:33 PM

Ricardo Bustamante talks about staging Ratmansky's Shostakovich Trilogy at San Francisco Ballet.

 

"All the information comes to us via Nancy Raffa, who is a choreologist and répétiteur -- the person in charge of staging it and teaching us the choreography. That's where I come in. I'm not the only ballet master to this. We divided the task of the three. In Symphony No. 9, the person I work with, to inherit the work, is Katita Waldo. The division is that Katita takes care of the corps and I take care of the principals. For the Chamber Symphony, Anita Paciotti has the corps and I have the principals. That makes it easier, more possible. I'm not in charge of Piano Concerto. It is sublime music, but there is no story to it. it's very important to have two ballet masters. I'm taking care of the drama while the corps is creating a very different picture. It's a lot to assimilate!"

 

 



#2 dirac

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Posted 08 April 2014 - 04:35 PM

The Antalya State Opera and Ballet  presents "Judith."

 

The ballet premiered last night at the Haşim İşcan Culture Center. The ballet’s music was performed by Çetin Işıözlü and the libretto was written by Medeia Magalashvili. Işıközlü dedicated the ballet, which was his first work, to his ballerina wife Işıl Işıközlü. The first choreography of the one-act ballet was designed by Alfred Rodrigues. This time, it will be staged by Nugzar and Medeia Magalashvili. 

 



#3 dirac

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Posted 08 April 2014 - 04:37 PM

A preview of Oregon Ballet Theatre's new program, "Celebrate."

"You could milk that for a little more," says Helen Pickett, interrupting their reverie at a recent rehearsal. "What are you thinking? What's your story?"

 

Story is key to Pickett, a New York choreographer of "Petal," one of three works on Oregon Ballet Theatre's "Celebrate" program at the Newmark Theatre. The April 17-26 program is called "Celebrate" because it marks the end of an era with the retirement of principal dancer Alison Roper. Roper, who is leaving after 18 seasons, will perform in all three pieces on the program.

 



#4 dirac

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Posted 08 April 2014 - 04:38 PM

Members of the Orlando Ballet do some volunteer work.

They learned of the volunteer opportunity through Dr. Paul Skomsky, an Orlando dentist who leads a medical group that donates services to the ballet company and who also serves on the board of directors for Clean the World.

 

At the downtown headquarters, volunteers, on which the clean cause relies, sort through large bins of soap, separating bars from small bottles of shampoo, conditioner and lotion, all hotel castoffs. The products are then cleaned, repurposed and repackaged for distribution outside the states.

 



#5 dirac

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Posted 08 April 2014 - 04:39 PM

The Imperial Russian Ballet Company present "Don Quixote" in Queensland.

 

But the true highlight of the evening was Lina Seveliova performing the part of Kitri. In fifteen years of eager spectating, I have never seen a more technically flawless performance than hers. I found myself gasping out loud as she performed perfect pirouettes and seemingly effortless grands jetés. Exuding the wilful personality of her character as she executed the choreography with style and precision, Seveliova is what all ballerinas aspire to be.

 



#6 dirac

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Posted 08 April 2014 - 04:40 PM

Q&A with Natalia Arja.

Why do you think Don Quixote continues to be a favorite among dancers and audiences for well over 100 years?

 

Don Quixote is one of my favorite ballets especially because of the style -- "the Latin style." It's fun for me because I am able to bring a little bit of my culture to the character of Kitri. I personally think Don Quixote is a favorite full-length ballet for audiences because it has a little bit of everything -- the choreography is spectacular, the sets and costumes are incredible, and it's funny. It's impossible for you to watch Don Quixote and not have fun. The ballet takes you on a really exciting journey.

 



#7 dirac

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Posted 13 April 2014 - 12:04 AM

An interview with Sergei Filin.

Asked if the Bolshoi had begun to heal in the year since his attack, and since a slew of bitter charges and countercharges about everything from casting to pay surfaced in its aftermath, Mr. Filin said, “It’s primarily myself who has to heal, because I bore the main blow myself.”

 

“I think it’s not the Bolshoi Theater that needs some kind of remedy or healing,” he said. “I think it’s those people who were creating this atmosphere for all these months which finally resulted in this terrible attack. The theater itself is quite healthy.”

 

 




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