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Tuesday, May 20


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#1 dirac

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Posted 20 May 2014 - 05:57 PM

Reviews of American Ballet Theatre's "Don Quixote."

 

The Star-Ledger

 

Because ballet is an art form in which physical attributes matter, the ballerinas can also be sorted by size. Guest artist Maria Kochetkova has a bravura technique that allows her to change direction while performing "fouettés." She is so petite, however, that she all but vanishes in the Dream Scene (ditto Xiomara Reyes). Next to Kochetkova, Herman Cornejo stands tall. He lifts her easily, holding her overhead with one arm until she giggles and rattles her tambourine.

 

 

Broadway World

 

Yet before I go on with what will be a largely laudatory review, I have to get a somewhat grumpy opinion off my mind. This has nothing to do with the current Don Q staging by Kevin McKenzie and Susan Jones dating from 1995. Rather, my complaint is about the original libretto devised way back in 1740 for a production by the Austrian choreographer Franz Hilverding, which has continued to inform most of the productions that followed including the seminal work by Petipa in 1869. The ballet's story about the romance between Kitri and Basilio is based on two of the least compelling chapters in the seventeenth century novel by Miguel de Cervantes, which is a complex exploration of delusion and defeat that has been heralded as the birth of modern literature.

 

 

 



#2 dirac

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Posted 20 May 2014 - 05:58 PM

A review of Ballet West by Kathy Adams in The Salt Lake Tribune.

 

In Christopher Ruud’s four-section ballet, "Great Souls," he lays bare the emotions surrounding the death of his father, the death of his mentor and his recent divorce. At the close of a lengthy and demanding autobiographical solo/duet with Tom Mattingly, dancer Tyler Gum collapses to the floor and the audience hears Gum gasping for breath or maybe actually crying. Quietly, dancer Allison DeBona enters stage left and places her hand momentarily on Gum’s back. The nine-minute-long pas de deux that follows is the next chapter in Ruud’s story. DeBona and Rex Tilton bring life and personality to the characters in a retelling of Ruud’s perspective of the very public break up of his marriage.

 

 



#3 dirac

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Posted 20 May 2014 - 05:59 PM

Ballet Idaho hires a new executive director.

 

Weaver starts at the end of May. She succeeds Paul Kaine, who announced his retirement in January. She joins a new team of recent hires at Ballet Idaho, including Marketing Director Meredith Stead, and Development Manager KC Driscoll.

 

 



#4 dirac

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Posted 20 May 2014 - 06:00 PM

No hard feelings, says mugging victim Dominic Antonucci.

 

The 40-year-old father of one needed surgery to repair a damaged retina and spent two months off work recovering from his injuries, which also included a broken nose.

 

However, despite his ordeal, Mr Antonucci insisted he has forgiven the muggers after they admitted a charge of robbery.

 



#5 dirac

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Posted 20 May 2014 - 06:03 PM

Charles and Camilla hit Winnipeg.

 

A group of young artists from Winnipeg’s non-profit organization Art City will have the chance to join Camilla and the Prime Minister’s wife Laureen for a spot of tea after they perform for the pair with the Royal Winnipeg Ballet. One of those lucky girls will be 10-year-old Belle Walters, who is a member of Art City’s youth council.

 

 



#6 dirac

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Posted 20 May 2014 - 06:05 PM

A review of William Forsythe's art installation, Nowhere and Everywhere at the Same Time No.2, by Thomas H Green for The Arts Desk.

 

No back story is needed to enjoy a large-scale installation which sets this cavernous space in motion. Some 400 pendulums, suspended at around a foot above the concrete floor, are flowing back and forth. Each is attached to an automated rig overhead. And these several rigs run according to an unknowable program which alternates between calm and tumult. Looking out over this carpet of inverted metal cones you are put in mind of a swimming pool wave-machine. It is about as much fun.

 

 



#7 dirac

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Posted 20 May 2014 - 06:07 PM

Ballet Yuma returns from a festival in Spokane, and not emptyhanded:

Dancers with Ballet Yuma recently returned from the Regional Dance America/Pacific Festival in Spokane, Washington, bringing home a bushel of awards and the very top honor for the company itself.

 

The young dancers not only represented Yuma, but the entire state of Arizona as well. Ballet Yuma holds the distinction of being the only Arizona dance company invited to the RDA festival. Ballet Yuma also holds RDA’s Honor Company status, something they earned all over again this year.

 



#8 dirac

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Posted 20 May 2014 - 06:11 PM

A review of Johan Kobborg, Alina Cojocaru and Friends by Leigh Witchel for danceviewtimes.

Tougher still, the decisions made to massage the canned soundtrack for the extended balances Cojocaru did meant that she worked with only three of her four princes. This left one poor fellow awkwardly and enigmatically ignored. It made no sense either as choreography or to the remnant of the story portrayed.

 

And yet, she was lovely. Cojocaru’s Aurora is one of – if not the – best around today, so it was still a chance to marvel when she stuck a balance – placing the tip of her shoe on the stage and staying suspended without adjustment – as if her balance traveled through her bones rather than via muscular strength. In excerpt, it’s harder to see that Cojocaru is far more than tricks, but she still added touching detail to her reactions meeting her suitors.

 



#9 dirac

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Posted 20 May 2014 - 06:14 PM

Q&A with Anamarie McGinn  of Orlando Ballet.

“My biggest accomplishment has been learning to trust myself. I love what I do. I’ve seen so much growth in myself as a dancer, and it’s rewarding.”

 

Her typical day includes class each morning from 10 to 11:30, rehearsal until 1, an hour lunch break, and then the company dances until 6. “We do this five days a week. I also teach jazz afterward for an hour or two.”

 

 



#10 dirac

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Posted 20 May 2014 - 06:15 PM

Ballet Arizona presents an "Innovations" concert.

 

Five company dancers created original work for a benefit performance last fall, and Ballet Arizona artistic director Ib Andersen, onetime protege of the great George Balanchine, was impressed. So much so that he picked one of the pieces, by first-time choreographer Tzu-Chia Huang, to represent the company in this season's "Trio" concert, the annual gala fundraiser for the ballet, Arizona Opera and the Phoenix Symphony.

 

 



#11 dirac

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Posted 20 May 2014 - 06:16 PM

A former Scottish Ballet dancer wins some, loses some:

Elaine McDonald, 71, who was once a star of Scottish Ballet, took Kensington and Chelsea Council to court over its decision to stop providing her with a night carer to help her use a commode in 2008.

 

Despite losing her case at the European Court of Human Rights on a separate issue, the ruling was hailed as a victory because it is the first time the court has said a failure to consider a person’s dignity can be a breach of human rights.

 



#12 dirac

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Posted 22 May 2014 - 05:09 PM

Disabled Danish war veterans dance with Corpus, the Danish Royal Ballet's experimental wing.

"This is a unique performance. I haven't heard of any other ballet companies dancing with wounded soldiers. I can say I have a much bigger sympathy for the people that go out to war than I ever had before."

 

"I was almost moved to tears," says Christian Lollike, the performance director and co-writer.

 

 



#13 dirac

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Posted 22 May 2014 - 05:12 PM

A review of Ballet Preljocaj's "Snow White" by Marianne Adams for danceviewtimes.

 

The masterful use of artistic elements embellished the very Grimm narrative of this production. Thierry Leproust’s dark set designs made the costumes and performers pop in contrast. An emotional and mysterious musical accompaniment pieced together from Gustav Mahler’s symphonies and interspersed with modern sound effects supplied romance as well as sorcery. Preljocaj’s choreography freed the dancers and fashion’s enfant terrible Jean Paul Gaultier’s costume designs provided the sartorial edge. The final product was a perfect fusion of these elements and grounded the ballet in reality, while keeping it mysterious enough to maintain the surreal fairy tale qualities.

 




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