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Monday, May 26


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#1 dirac

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Posted 27 May 2014 - 05:43 AM

Jonathan Stafford retires from New York City Ballet.

 

My own farewell to Mr. Stafford occurred the previous afternoon, when he partnered Rebecca Krohn in the same “Emeralds” item. (On this occasion, his sister was dancing the first pas de deux.) You would not have known that the end of his career was in sight. The characteristic courtesy and cleanness of his performance were the same as ever; his musculature displayed no strain, his manners remained quiet. He will not be going far. On the faculty at the School of American Ballet (vitally linked to City Ballet) since 2007, he will continue to teach there. He also now becomes one of City Ballet’s ballet masters; he already began this work during his final seasons as a dancer.

 

 

 



#2 dirac

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Posted 27 May 2014 - 05:48 AM

A look at Natalia Osipova in rehearsal with the Royal Ballet by Jessica Duchen in The Independent.

Integrating Osipova into the company does not seem to be problematic; the Royal Ballet is full of different nationalities, and, as Marriott says, "Natalia isn't exactly your typical Russian dancer." It's that elemental energy again. Osipova readily agrees: "In Russia they never thought I was from the Russian school," she laughs. "When Ivan [Vasiliev] and I performed Don Quixote the first time, we had so much energy that it was almost too much for the Moscow audience. But I do think the earlier Soviet dancers had even more strength and passion."

 

 

 



#3 dirac

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Posted 27 May 2014 - 05:52 AM

A feature on City Dance Theatre of Richmond.

The City Dance Theatre has been around for decades, and it was the vision of ballet instructor, Annette Holt. Holt asked the city to start the program back  in 1979.

 

"At that time, all I saw in the program were adults. There are 1,400 adults. They were all Caucasian and they did square dance and folk dancing," says Holt. "I asked the director immediately why we aren't programming for centers of the children I see in the community."

 



#4 dirac

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Posted 27 May 2014 - 05:56 AM

A review of the Bolshoi Ballet in "Giselle" by Oksana Khadarina for DanceTabs.Thanks to Buddy for forwarding the link!

From that first moment Hallberg established a perfectly believable rapport with the title heroine (Svetlana Zakharova). Their chemistry was so undeniable, natural and intense that they seemed to be destined for each other.

 

This Albrecht was unconditionally smitten by Zakharova’s Giselle – a lovely young peasant girl with an innocent but weak heart. He was completely intoxicated by love, and when he looked at her, he did so with utmost tenderness and adoration, entirely losing himself in his newly- discovered feeling.

 



#5 dirac

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Posted 27 May 2014 - 06:01 AM

A preview of the School of American Ballet's workshop performances by Gia Kourlas in The New York Times.

The idea that dance is an oral tradition, passed down from one generation to the next, lives on distinctly at the school, established by George Balanchine and Lincoln Kirstein in 1934 as a training ground for what became New York City Ballet. This year marks the 50th annual performance workshop, which was initiated in 1965 by Alexandra Danilova, a faculty member who left Russia with Balanchine; they both ended up in Diaghilev’s Ballets Russes. Robert Weiss, a former principal dancer at City Ballet, appeared in the school’s first performance.

 

 



#6 dirac

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Posted 28 May 2014 - 06:42 AM

The Royal Ballet offers a new course for teachers.

The Royal Ballet School has launched a new teachers’ course, its first to offer a formally accredited qualification.

 

Participants who complete the school’s Diploma of Dance Teaching will be awarded a Trinity College London Diploma in Dance Teaching and Learning – a level six qualification under the National Qualifications Framework.

 

 



#7 dirac

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Posted 28 May 2014 - 06:49 AM

Fernando Montaño speaks to college students. Story by Harriet Fry in The Oxford Student.

It was in Italy that Montaño’s career took off, but not everything ran completely smoothly. To stay there training at two of the most prestigious ballet schools Montaño had to stay with a friend who was at a convent. Every morning he had to sneak out of the convent in case the nuns caught him and, incredibly, he managed to keep up this lifestyle for months before he was found out. Whilst he admitted that with hindsight this was funny, at the time, it was a pretty scary situation. Yet his dedication to succeeding pushed him to go to such great lengths in order to continue his dancing training.

 

 

 




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