Jump to content


This site uses cookies. By using this site, you agree to accept cookies, unless you've opted out. (US government web page with instructions to opt out: http://www.usa.gov/optout-instructions.shtml)

Thursday, May 15


  • Please log in to reply
13 replies to this topic

#1 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 25,770 posts

Posted 15 May 2014 - 05:50 PM

Dancers take exception to an ad for Free People Clothing.

I spoke with a friend who's a former pro dancer: "Like other sports, ballet is super athletic, and to be on your toes in pointe shoes is not something you just do. You need very good training," she said.

 

Me: "It's not just that she's improperly posed, is that correct? It's also dangerous?"

 

Her: "It's super dangerous. Her foot is sickled. Her ankles are not supporting her body and her position well."

 

 



#2 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 25,770 posts

Posted 15 May 2014 - 05:51 PM

Miami City Ballet hires a new executive director.

 

MCB’s leaders hope Scolamiero’s skills as a fundraiser and in creating community partnerships will bolster those areas in Miami. The 54-year old New Jersey native was executive director for 17 years at the Pennsylvania Ballet, where he led a successful $12 million effort to boost the company’s size, start an endowment, and fund new ballets; as well as an ongoing $25 million campaign to fund new headquarters for the Philadelphia-based troupe. Scolamiero, who is a trained clarinetist with a degree in music education, also oversaw a number of community outreach programs that included an after-school arts program for inner city middle school students. The 51-year old Pennsylvania company, whose budget rose from $6.5 million to its current $11.3 million under Scolamiero, is one of the oldest regional troupes in the United States, with 38 dancers and a repertoire that includes Balanchine, classic and contemporary ballets.

 

 

 

....from Pennsylvania.

 

"The timing is purely coincidental, coming on the heels of Roy's departure," said Scolamiero, 54, "but it was an opportunity I didn't want to pass up, given how long I've been at Pennsylvania Ballet. It was probably - and my partner could confirm this, because I drove him crazy for two months - the most difficult decision I have made in my life, mainly because I care deeply for the organization here, and I didn't know when I was first speaking to them about this that Roy was stepping down, and it does complicate things here."

 



#3 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 25,770 posts

Posted 17 May 2014 - 03:11 PM

A review of American Ballet Theatre by Mary Cargill for danceviewtimes.

 

Xiomara Reyes (substituting for the injured Gillian Murphy) and Alban Lendorf, a guest from the Royal Danish Ballet, were the energetic couple.  Lendorf made one appearance with ABT last year in "The Sleeping Beauty", and flew in this year for one performance, so who knows how much rehearsal they were able to get.  This may explain some of the slightly shaky lifts, but the diving jumps were fearless.  Lendorf is a noted Bournonville stylist, which stresses constant movement, little jumps, and a natural and engaged stage presence.  He used this slightly understated approach very well, and his Basilio was a sweet-natured flirt, perfectly believable as a poor barber.  He has beautifully soft jumps, though seemed to push the height a bit.  But inviting such a wonderful Bournonville dancer to perform Sovietized Petipa was a bit like hearing the world's greatest tenor sing miked Broadway songs.

 

 



#4 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 25,770 posts

Posted 17 May 2014 - 03:14 PM

Reviews of New York City Ballet.

 

The New York Times

 

The return of “Davidsbündlertänze” to the repertory after five years is more than welcome; Wednesday’s revival — eloquent in details large and tiny, with half the cast new to their roles — had been beautifully prepared. I look forward to Saturday afternoon’s second cast, in which all eight make debuts. This is a strange work, even if you know other Balanchine ballets, and yet it is some people’s favorite; others, young ones, have cited it as their moment of life-changing artistic revelation. Though it has dance steps, many of its most powerful moments lie in nondance hesitations, gestures and glances.

 

 

 

The Financial Times

 

In his final decade, Balanchine returned often to the roots of dance. With a little tightening and brightening, he demonstrated, a ballet could emerge from walking, running and jumping, as well as from the proto-choreography of battle and royal court. For Union Jack, he made the regiments’ full stops sharper (as the guards stare out impassively), the re-formations more slippery, and the flares of movement more dramatic. But the emotional containment remained; when the clans eventually break into Scottish jigs, their joy feels cathartic.

 

 



#5 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 25,770 posts

Posted 17 May 2014 - 03:30 PM

Reviews of the Royal Ballet.

 

The Guardian

 

Still, if Sweet Violets remains hard to follow for a first-time viewer, there's much to admire about the way Scarlett has compressed his interconnected stories of murderous men and the sisterhood of models, prostitutes and dancers doomed to be their victims. The violence is brutally imagined and the characters subtly realised, with Lauren Cuthbertson bringing a delicate inner life to the role of Mary-Jane Kelly.

 

 

 

The Telegraph

 

The final choreographer on the bill, Christopher Wheeldon, studied the works of the American master at close quarters in his years with New York City Ballet. Although the British choreographer is very much his own man, DGV - Danse à Grande Vitesse shows Balanchine’s sense of structural rigour in its clever manipulation of choreography for four leading couples within the larger context of a corps de ballet. Propelled by Michael Nyman’s score, it’s an exhilarating piece, demanding and receiving precision performance.

 

 

 

The Financial Times

It was first given in 2012, and I had assumed that this rachitic drama – a throwback to the worst British B-movies of the 1950s – would die where it fell, so inscrutable its action, so predictable its mumming. But here it is again, confusing as ever, garrulous, abusing its score. The company’s artists beat themselves improbably up in seeking to make sense of this farrago. A good deal of scenery – plus Lord Salisbury as floorwalker and a couple of sinks – comes and goes. Throats are slit. Time passes very, very slowly.

 

 

 



#6 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 25,770 posts

Posted 17 May 2014 - 03:33 PM

More.

 

The Arts Desk

 

Last night the Royal Ballet put the serene into Serenade with a rather too smooth performance. This is a full-out dance, especially for the corps de ballet: it’s exciting because the dancers should be right on the edge and letting it show – everything almost too big, almost too high, almost too long. But except for Lauren Cuthbertson, who did her Russian Girl jétés with abandon, and one or two girls in the corps (Claire Calvert and Romany Pajdak struck my eye), what we saw was a gliding swan with no hint of paddling feet. Yes, the stately pace allows Balanchine’s lovely tableaux to breathe, but when Matthew Golding of the zero stage presence starts to look dashing, either he’s improving or everything else around him is just a little too controlled.

 

 

 

 

The Independent

 

In Serenade, Balanchine brings a youthful, democratic energy to Tchaikovsky: women in tulle run and swirl, with hints of a story emerging from the whirl. The Royal Ballet is inclined to romanticise it, to slow down and act, but there’s bright dancing from Marianela Nuñez, Lauren Cuthbertson and Melissa Hamilton.

 

 

The Stage

 

Next is fledgling dancemaker Liam Scarlett’s narrative ballet Sweet Violets. Revived from 2012, it is an intense reimagining of how the artist Walter Sickert was influenced by the murder in 1907 of the prostitute Emily Dimmock. The sets by John Macfarlane are inspired, and the dancers cannot be faulted, but the hour-long piece is dramatically confusing. It features a lot of characters with multiple cross-relationships in several locations - all of which is muddling.

 

 



#7 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 25,770 posts

Posted 17 May 2014 - 03:39 PM

The English National Ballet will perform at the National Portrait Gallery.

The ballet performances will last three minutes and be repeated every 15 minutes through the evening.

 

The work is inspired by In Parenthesis, the First World War poem by David Jones.

 



#8 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 25,770 posts

Posted 17 May 2014 - 03:49 PM

Christine Winkler of Atlanta Ballet calls it a day.

The veteran dancer says she gets choked up thinking about her time with the city’s ballet company.

 

“It’s been everything to me. It was my dream,” said Winkler. “When I was 10 years old, I saw the nutcracker and I came running home to my mom and said ‘This is what I have to do. And I have to do it.’ And I just put those ballet slippers on and ever since then I never looked back.”

 

 



#9 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 25,770 posts

Posted 17 May 2014 - 04:03 PM

The Australian Ballet gets some government money amid severe cuts in arts funding.

The Australian Ballet School, the nation’s elite academy for young dancers, has been recognised for raising $3.5 million towards a student residence with a $1m top up from the federal budget.

 

The school had a “duty of care” to house its school-age students, many of whom come from interstate, a spokesman said. It was one of the few world-class academies that did not offer accommodation.

 

 



#10 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 25,770 posts

Posted 17 May 2014 - 08:02 PM

A review of "Afternoon of a Faun: Tanaquil Le Clercq" by Peter Keough in The Boston Globe.

Buirski relates more of the professional than the personal details of that relationship, and provides insights into how Le Clercq’s tall, lithe body type shaped Balanchine’s vision of the perfect dancer, and how that vision has shaped an archetype for ballet dancers ever since. The film also suggests how Balanchine molded his dancers, Pygmalion-like, into his impossible ideal of female beauty.

 

 

 



#11 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 25,770 posts

Posted 17 May 2014 - 08:13 PM

Anthony Krutzkamp of Kansas City Ballet retires this weekend. Video.

However, Krutzkamp suffered a herniated disc in his back while partnering and three years later made the decision to step away from dancing full-time. 

 

“Where pain equals pleasure is where you have to call it,” Krutzkamp explained. “There’s equilibrium to artistry and what your body needs. And it’s best to go out on top.”

 

 



#12 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 25,770 posts

Posted 17 May 2014 - 08:14 PM

The Vacaville Ballet Company presents "Mutiny!"

The pirate-themed pirouette purveying play is penned by artistic director Cassie Kamakeeiana.

 

Though happy to write the original production, "I was leaning more toward Robin Hood, they wanted pirates," Kamakeeiana said. "So I wrote a pirate ballet."

 

 



#13 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 25,770 posts

Posted 17 May 2014 - 08:17 PM

Three dancers bow out at Kentucky Ballet Theatre.

 

Patsfall and Sifontes are moving to Florida so Patsfall, who also has been at KBT since 2001, may pursue a master of fine arts degree in ballet and choreography at Florida State University in Tallahassee. Sifontes says he will continue to pursue opportunities in teaching and choreography.

 

Viamontes, who has been with the troupe since 2005, also is moving to Florida, to be closer to his Cuban family.

 

 



#14 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 25,770 posts

Posted 17 May 2014 - 08:20 PM

A KCUR radio story about dancers and their pointe shoes. Video.

 

As part of an occasional series called Tools of the Trade about performers and their relationship to the tools that make their work possible, I talked to members of the Kansas City Ballet about shoes.

 

 

 




0 user(s) are reading this topic

0 members, 0 guests, 0 anonymous users


Help support Ballet Alert! and Ballet Talk for Dancers year round by using this search box for your amazon.com purchases (adblockers may block display):