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dirac

Thursday, May 22

5 posts in this topic

Cynthia Harvey starts a new foundation, En Avant.

The master classes at the Baryshnikov center will include solo and pas de deux coaching by Ms. Harvey, Mr. Villella and Ms. Guérin, as well as talks by Linda Hamilton, a former dancer and clinical psychologist, and Patrick Rump, a sports-dance therapist who has developed a method of tracking dancers in practice and creating a computer profile that will help them increase their strength and stamina. The foundation also plans to announce its first scholarship shortly before the class.

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A special coin is issued to commemorate the Royal Winnipeg Ballet's 75th anniversary.

Carrying a face value of $20, the coin is also being offered in a music box that plays Tchaikovsky's Sleeping Beauty (Valse). The coin will be limited to 7,500 and sell for $114.95.

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A review of New York City Ballet by Mary Cargill for danceviewtimes.

Reichlin and Janzen were clear in both their dancing and their characterization, but as yet, weren’t able to lay open their emotions—this was a demonstration of suffering rather than a recreation, and I missed the raw nerve atmosphere of some earlier couples. Janzen seemed a bit too normal for all the isolation and pain that Adam Lüders seemed to ooze, though he didn’t compensate by overacting, and his slight reticence had its own subtle power. Reichlin, too, is a cool dancer, and the emotions don’t pour out of her—the final scene, as she reaches for Schumann retreating into madness was eloquently posed, fingers just so, rather than a seemingly spontaneous cry.

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A review of American Ballet Theatre by Apollinaire Scherr in The Financial Times.

But for the revival’s first outing, the company was not feeling it. Dancers substituted limp casualness for rude good health. Though Marcelo Gomes as the Baron, Craig Salstein as the Peruvian, Joseph Gorak as the Dance Master, and flower girl Copeland did achieve some of what was needed – the powerful pelvis, rubbery spine, rough vigour, sharp rhythms and thick sensuality – no one managed it all.

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A review of New York City Ballet by Jessica Abejar for Broadway World.

The night began with Christopher Wheeldon's A Place for Us, a pas de deux dedicated to Jerome Robbins. Set to music by André Previn and Leonard Bernstein, the ballet featured principals Tiler Peck and Robert Fairchild playfully and romantically dancing along to the piano and clarinet. Filled with long, extended limbs sweeping through the air, arms wavering through the space, and even a signature hip swivel from when Tony and Maria first met at the gym in West Side Story, it was a fitting tribute to Mr. Robbins.

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