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Wednesday, May 7

9 posts in this topic

New York City Ballet announces plans for its 2014-15 season.

For the 330th anniversary of Bach’s birth, City Ballet plans to bring back Jerome Robbins’s 1971 “The Goldberg Variations,” which was last seen there in 2008, on a program with Balanchine’s “Concerto Barocco,” which is also set to Bach. Full-length ballets next season will include Mr. Martins’s “Romeo + Juliet” and Balanchine’s “A Midsummer Night’s Dream.”

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Petr Zuska makes a new piece for Boston Ballet.

In a video interview with Boston Ballet’s artistic director Mikko Nissinen, Zuska recalls a time walking through a graveyard in Montreal. He says he fell, only to look up at a stone of a girl who had died at 24, living from 1953 to 1977.

The past week, Zuska has worked with the company, fine-tuning the details of his choreography. “Sometimes after learning a piece, you’ve done it so many times that things get lost, and you can focus on tiny, technical things a bit too much,” Schlagheck says. Zuska is “putting the artistry back into it, getting back to his intention of the movement.”

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A look at Ingrid Bugge's ibook, "The Essence of Ballet," by Judith Mackrell in The Guardian's blog.

As this video reveals, Bugge brings a fascinating digitalised craft to her work. Analysing the image she created from John Neumeier's ballet Lady of the Camellias, Bugge describes how she put extra layers of fabric around the dancer to create an effect of the dying Marguerite still glowing with love, yet poised to transcend her earthly life. It's an image saturated with poetry: those layered skirts also have the effect of enfolding Marguerite like the petals of her trademark flower. And viewed on the backlit screen of an ipad or tablet, it's even more alive than in printed reproduction.

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Smuin Ballet launches a 20th anniversary tour.

The series also includes world premieres from Smuin's Choreographer-in- Residence Amy Seiwert, and Val Caniparoli, an internationally-renowned choreographer and principal character dancer at San Francisco Ballet.

Caniparoli's new work, "Tutto Eccetto il Lavandino" ("Everything But the Kitchen Sink"), celebrates the versatility of the Smuin dancers, blending high-energy athleticism with wit and reflective beauty set to the music of Antonio Vivaldi, Fushille said.

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A review of New York City Ballet by Alastair Macaulay in The New York Times.

As a group, these women don’t have the exceptional overall promise of the 2008 vintage, but Ms. Laracey and Ms. Mann made impressions of high elegance, while the warm enthusiasm and firm delivery of Ms. Lowery’s dancing are an important asset. The most exciting passage in Tuesday’s performance came when Ms. Laracey and Ms. Lowery led one sequence in the coda together, cresting the music.

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Annie Leibovitz chooses a shoot with Mikhail Baryshnikov and other dancers as a career-shaping assignment.

"My mother was a dancer, and taught dancing, so I grew up with dance. So you can imagine what it would have been in my work to photograph dance," she said. "[For these photos] Misha's knees were not in the best shape."

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An item on Dawn Landes by John McElwee in The New Yorker's blog.

On the pit level, Landes complimented a man with long, stringy hair on his festive tie. “Thank you,” he said, producing a replacement black bow tie. “It’s a shame they won’t let me wear it.” The N.Y.C.B. has opened its doors periodically to popular artists—a Sufjan Stevens-scored ballet was on the matinee bill—but a folk singer remains a rarity in the pit. She’s the only amplified performer in the room, and she tends to vary her phrasing and emphasis, which has led to some hiccups. One violist, she told me as we wound through a grove of music stands and gleaming, dormant instruments, complained to the director about the scent of her hairspray.

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Ballet San Jose will tour Europe with Osipova and Vasiliev.

This summer, Ballet San Jose has been invited to tour with Natalia Osipova and Ivan Vasiliev, former Bolshoi Ballet luminaries and current international favorites. Osipova, now a principal dancer with the Royal Ballet in London, guest-partnered with Carreño in Don Quixote before his retirement after a long career with American Ballet Theatre.

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Q&A with William Forsythe.

What are your plans for the Choreographic Institute?

The Choreographic Institute should act as something that synthesizes the potential for interaction between choreographic thinking and other sciences. I want to create projects that interlink. Rather than working on 10 separate projects, I’d rather work on one project with 10 aspects. That involves working with top professionals from all over the world and those at USC, dispelling mysteries and getting everyone to think differently.

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