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Wednesday, May 21


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#1 dirac

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Posted 22 May 2014 - 11:25 AM

Reviews of the Bolshoi Ballet in "Giselle."

 

The Washington Post

“Giselle” is a ballet about secrets and lies. The two lovers at its core know nothing about each other. Count Albrecht is full of deceptions, including the fact that he’s engaged to someone else. The peasant girl of the title suffers from a weak heart and knows that dancing could kill her. Neither confesses these truths to the other.

 

Yet we are supposed to believe in their bond. I rarely do, but Tuesday night, in an uncommonly intimate performance, Svetlana Zakharova and David Hallberg of the Bolshoi Ballet made one of the better arguments for it......

 

 

The New York Times

 

It’s also better to see Yuri Grigorovich’s production of the 19th-century “Giselle” (with designs by Simon Virsaladze), which is the one the Bolshoi has brought here, than the company’s alternative staging, by Vladimir Vasiliev (designs by Givenchy), which I saw in April at the troupe’s second Moscow theater, the New Stage. Although there are real faults in Mr. Grigorovich’s staging, it keeps the drama of “Giselle” seriously absorbing as the Vasiliev version does not. The old tale — which has its roots in the medieval reports of dance mania in the Rhineland — of first love, class distinction, deceit, heartbreak, madness and love beyond the grave was alive. It showed, above all, dance as a vital force.

 

 



#2 dirac

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Posted 22 May 2014 - 11:28 AM

Orlando Ballet has a new executive director.

 

Former executive director Juan Escalante left the organization in 2011. He was briefly replaced by Mark Hough, who resigned after four months. Ron Legler, who recently moved to Baltimore, had been serving as interim executive director.

 



#3 dirac

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Posted 22 May 2014 - 11:30 AM

The Saratoga Performing Arts Center holds its annual membership meeting.

 

White often reminds audiences that the relationship with Live Nation enables SPAC to offset losses incurred by its resident classical companies, the New York City Ballet and the Philadelphia Orchestra, which have been annual visitors since the beginning. Although the orchestra still plays for three weeks in August, mounting costs forced SPAC and the ballet company to cut back to two-week residencies in July, then one week for 2013 and this summer. White and board Chair Susan Phillips Read said they are in ongoing discussions with City Ballet counterparts about the length of the residency next summer.

 



#4 dirac

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Posted 22 May 2014 - 05:04 PM

A review of American Ballet Theatre by Brian Seibert in The New York Times.

It was telling that the work’s pretty, fade-out ending was the most convincing section. Ballet Theater had a grasp on the romance in “Gaîté Parisienne,” but the company lacked the oomph to put over the dumb comedy and make the audience spontaneously clap along. Compared with the choreography, music and designs, the performances were faded all the way through.

 

Tentativeness laced the evening. “Theme and Variations,” a grand-manner ballet that George Balanchine made for the company in 1947, is more exposing than a cancan. It’s a notoriously tough test of classical technique, and there were bobbles in the dancing of Polina Semionova and James Whiteside. But there were also many beauties.

 



#5 dirac

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Posted 25 May 2014 - 05:57 AM

A review of the DVD of the Royal Ballet's "Don Quixote" by Lewis J. Whittington for ConcertoNet.

 

Screen Director Ross MacGibbon captures the energy of the live performance and knows how to film dancers in motion. The 1869 score by Ludwig Minkus is arranged, orchestrated and conducted by Martin Yates that works deftly with the updated production. Acosta’s mix of ballet and cultural idioms, is more than stylized and dynamically taps the breadth and diversity of this company.

 

 

 



#6 dirac

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Posted 05 June 2014 - 06:12 PM

Q&A with Craig Salstein and Roman Zhurbin by Gia Kourlas in Time Out New York.

What is your approach here?

 

Craig Salstein: Doing a lot of Ashton, especially early Ashton, I’m impressed—it’s a complete product. There’s no word like vague in it. He’s very clear and specific. And for me to determine the quality of the product is to know its origin. With Ashton’s sensitivity to music, especially the idea of condensing music, and Helpmann’s sensitivity to scenes, you don’t have to be funny, you just have to be able to connect these scenes, which of course are very important for this three-act role. Once you feel those two people and what they’re about, you know what the role is, and it’s new stuff: You gotta hold a skirt; you gotta put on high heels. It’s very new, but it’s no different from what I’m about to do right now, which is rehearse the Bronze Idol [in La Bayadère]. This requires the same amount of attention, if not more. The ballet starts with the two of us onstage, and you don’t even know who the characters are, but that beginning sets the tone. Roman is the broader and bigger [stepsister].

 




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