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stylistic changes under Lopez's leadership


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#16 brokenwing

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Posted 16 September 2014 - 03:35 PM

I think we would do well to keep in mind that there have been years in the past where only three Balanchine works were programmed, and all of the new works being added are things that would easily fit into any other Villella-led year. Saying otherwise, in the Miami Herald, stirs the pot and keeps the (presumably non-dance attending) reader interested in a tabloid-y sort of way.

I take it you haven't seen the post-Wheeldon Morphoses, for you would know it is almost entirely different from what MCB is presenting now, MUCH more contemporary, and thus, presumably, even less to your taste. ;)

While the repertoire has inarguably seen little to no change, style and presentation are another matter all together and subject to many differences of opinion.

#17 Quiggin

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Posted 16 September 2014 - 11:52 PM

Thanks for posting that Jordan Levin / Miami Herald link, Cristian. Lots of information about personnel changes – Ricardo Montealeagre, administrative director and responsible for the program that brought Renan Cerdeiro, Kleber Rebello and Nathalia Arja into the company is gone, as is Philip Neal.

 

And as to stylistic changes:

 

 

 

At the company’s school ... the focus of the training has shifted away from Villella’s emphasis on energy, urgency and musicality — qualities that distinguished MCB from other companies. New teachers emphasize more traditional technique and a wider range of styles that will presumably prepare students for a different repertory, but also seem likely to make MCB’s dancers more like those at other troupes.

 

“We need to make sure they’re employable,” Callaghan says. “We’re looking for diverse dancers.”



#18 sandik

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Posted 17 September 2014 - 08:06 AM

I haven't really followed Miami City, and don't know that much about their school, so my questions are pretty plain Jane.  How many students do they "graduate" in a year, how many people in the company are graduates of the school (and I know that of those, many will have trained in several places) and how many former students are working elsewhere. 

 

Are there more grads working elsewhere than there are in the company?



#19 DanielBenton

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Posted 17 September 2014 - 01:34 PM

"...training has shifted away from...musicality - "?????????????????  Isn't this reversing the natural evolution of the art?



#20 pherank

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Posted 17 September 2014 - 03:32 PM

"...training has shifted away from...musicality - "?????????????????  Isn't this reversing the natural evolution of the art?

 

"diverse", and yet less individual, or remarkable? But eminently employable!  ;)



#21 lessismore

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Posted 18 September 2014 - 07:16 AM

I haven't really followed Miami City, and don't know that much about their school, so my questions are pretty plain Jane.  How many students do they "graduate" in a year, how many people in the company are graduates of the school (and I know that of those, many will have trained in several places) and how many former students are working elsewhere. 

 

Are there more grads working elsewhere than there are in the company?

The school had been "graduating" quite a few students into professional work, there is a graduation list on the schools website from 2001-2011.

 

The current MCB roster has about 20 dancers that studied at the school during the former directorship. 

 

Students from the school prior to 2013 are dancing in over 13 different companies around the U.S. (some of these companies are employing multiple graduates) and are/have danced in over 10 different nations around the world-these currently include: the Royal Danish Ballet, Royal New Zealand Ballet, and the Compania Nacional de Danza Mexico, to name a few. Hope that helps with your questions.



#22 sandik

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Posted 18 September 2014 - 12:05 PM

 

 Hope that helps with your questions.

 

 

Yes, indeed -- many thanks.

 

I'll go look on the website, but I think your pocket description is pretty clear -- they hire their own, and so do other people.




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