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Friday, May 23


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#1 dirac

dirac

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Posted 25 May 2014 - 05:32 AM

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

 

Or, rather, “Watch this again,” since Mr. Peck has clearly learned from Balanchine. As in Mr. Peck’s 2012 breakout piece, “Year of the Rabbit,” the configurations of “Everywhere We Go” show him to be one of the most imaginative dance makers of our time. Karl Jensen’s set, with shifting cutouts, offers a nice analogue to Mr. Peck’s kaleidoscopic patterns, but the choreography is the show — with shapes coalescing and dissolving, disappearing and returning, sometimes sneaking in from the wings. Almost every end is a beginning.

 

 

 



#2 dirac

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Posted 25 May 2014 - 05:37 AM

A review of Boston Ballet by Jeffrey Gantz in The Boston Globe.

 

“Diamonds” is an austere celebration whose centerpiece is the “Andante elegiaco” slow movement. As the principal lady and man enter from opposite corners of the stage, to the call-and-response of bassoon and horn, you wonder whether the hunter has captured the unicorn or vice versa. Breen Combes, reprising this role from 2009, was skittishly spontaneous, both animated and enigmatic, plunging into penchée arabesque one moment, nuzzling Alejandro Virelles the next. Virelles shone in the control of his jumps and his soundless manège during the Scherzo.

 

 

 



#3 dirac

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Posted 25 May 2014 - 05:40 AM

A review of American Ballet Theatre by Barnett Serchuk for Broadway World.

The cast did, for the most part, rise to the occasion. Unfortunately, James Whiteside, in the danseur noble role, could not master his part, one of the most fiendishly difficult in the ballet canon. His partnering also lacked what I would call panache. It did not show nobility, rather someone striving to reach that exalted station. He looked like a good partner, but one that still needed coaching and repeated performing to conquer the demands of this killer role.

 

Polina Seminova in the ballerina's role was a much better choice for the ballet. She did not look like a Bolshoi ballerina dancing Balanchine. While she had to work for the speed of the steps a few times, she succeeded beautifully. Here's one dancer I would like to see in other Balanchine roles. She has the talent, not to mention the stamina for other Balanchine parts. Who knows?

 

 



#4 dirac

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Posted 25 May 2014 - 05:41 AM

Richmond Ballet announces its 2014-15 season.

To celebrate 40 years of the School of Richmond Ballet, Oct. 31 through Nov. 2 brings a three-production mixed repertory program with the Richmond Symphony and Richmond Symphony Chorus.

 

“Danse Macabre,” choreographed by ballet Artistic Director Stoner Winslett with music by Camille Saint-Saens, kicks off the Halloween weekend Oct. 31 and will feature the school’s ballet students. It’s followed by George Balanchine’s “Mozartiana,” a tribute to the great composer and set to the music of Peter Ilyich Tchaikovsky.

 



#5 dirac

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Posted 25 May 2014 - 05:48 AM

William Forsythe steps down as leader of the Forsythe Company.

The change of director will occur 10 years after the Forsythe Company was formed in the wake of a the public outcry that occurred after the city of Frankfurt wavered in its support for the Ballet Frankfurt, which Mr. Forsythe had directed for 20 years and had put on the international map. In a recent interview, he said he felt it was time to move away from the pressures of running a company full-time.

 

 

 

Related.

 

[Jacopo] Godani was one of the key soloists of Forsythe's company, then known as Ballett Frankfurt, between 1991 and 2000 and worked one many of the group's choreographies.

 



#6 dirac

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Posted 25 May 2014 - 05:52 AM

A review of Houston Ballet by David Clarke for Broadway World.

 

After the first intermission, the audience is treated to two dances set to music by Wolfgang Amadeus Mozart. PETITE MORT is danced to "Piano Concerto in A Major - Adagio" and "Piano Concerto in C Major - Andante," and SECHS TÄNZE (SIX DANCES), which is enjoying its Houston Ballet Premiere, is danced to "Six German Dances, KV 571." Jirí Kylián mesmerizingly choreographs both pieces. PETITE MORT is wondrously sensual, dark, earthy, raw and features many of Houston's favorite dancers. At the opening night performance, Aaron Robison slipped while running across the stage. His fall was met with an audible gasp, as everyone hoped he had not injured himself. Undoubtedly filled with adrenaline, he sprung back up and continued dancing as if the mistake never occurred. With a recovery that made the fall look planned and finishing the performance strong, I can only hope that he is not injured and that he still has a long and fulfilling ballet career ahead of him

 



#7 dirac

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Posted 25 May 2014 - 06:00 AM

A review of the Bolshoi Ballet in "Giselle" by Alexandra Tomalonis for danceviewtimes.

 

The two most consistent performances were Hallberg’s Albrecht and Vitaly Biktimirov’s Hans (Hilarion in many productions), the village gamekeeper who loves Giselle and exposes Albrecht’s duplicity. This is a role that has been caught between the 19th century villain and the late 20th century nice boy-next-door for some years now. Biktimirov’s portrayal may be the New Hans. Neither villain nor nice boy, he was a man who cares about Giselle, is aware of his position (he’s a great catch, and knows it, somehow without a shred of arrogance). In the second act, Biktimirov managed to show that he’s an excellent dancer without overdancing, without turning Hans’s futile battle with the Wilis into a showpiece. Hallberg’s Albrecht was also very consistent. He was absolutely “there” in every scene, as the Danes would say; you knew what he was thinking, you knew what he felt, and his dancing was in the same key. Even his soaring jeté exit in the second act seemed an expression of his desperate love for Giselle, not a trick.

 

 

 



#8 dirac

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Posted 25 May 2014 - 06:03 AM

A preview in brief of Nashville Ballet's new program.

 

"Amorisms," a work for string quartet, clarinet and five voices, premiered earlier in the month at the ALIAS Spring Concert. Here, however, it includes movement from favorite Nashville Ballet guest choreographer Gina Patterson — most recently working with Nashville Ballet and singer-songwriter Matthew Perryman Jones on the 2012 piece "…but the flowers have yet to come."

 

 



#9 dirac

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Posted 25 May 2014 - 06:07 AM

Mavis Staines is honored for her contributions to Canada's National Ballet School.

 

Now, 25 years later, Staines’s contribution to NBS has been officially recognized. As friends and colleagues celebrated the anniversary at a special reception on Wednesday, it was announced that a permanent endowment, the Mavis Staines Fund for Student Assistance, has been established in her honour. It already stands at more than $1 million and will help ensure that talent, not private means, determines who gets to study at NBS.

 




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