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Tuesday, May 27


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#1 dirac

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Posted 27 May 2014 - 05:44 AM

Ballet Philippines prepares its 45th season.

Apart from the gala night and a homecoming show featuring different ballet troupes related to BP, there will be a re-staging of "Giselle," choreographed by Nonoy Froilan.

 

This year, though, American Ballet Theater dancers Stella Abrera (soloist) and James Whiteside (principal dancer) will be performing the lead roles. Morales explained that the ABT has had a longstanding relationship with its Philippine counterpart, noting that the American company’s present artistic administrator, Cristina Escoda, used to be a member of Ballet Philippines.

 

 



#2 dirac

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Posted 27 May 2014 - 05:46 AM

Q&A with Mariem Valdés.

 

HT: Tell us of the experiences abroad leading to where you are right now.

 

MV: While at second year at ballet school, I was invited to take part in The Nutcracker, staged every December in Mazatlan, Mexico, as part of a cultural exchange. In March of 2010, I had the great opportunity of participating in Barcelona’s Reus dance contest. There, I was awarded the public’s choice prize. In December of that same year, I took part in the opening gala of the Paula Castro Academy in Sao Paulo, Brazil, where I performed in Swan Lake. For a while, I was a member of the Danza-Ballet company in Mazatlan, during its first year of existence. I was a solo ballerina. Currently, I am in Greece, with the Louis Cruises company, where I have also started to work as a choreographer.

 

 



#3 dirac

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Posted 27 May 2014 - 05:50 AM

A review of the Hong Kong Ballet in "Les Sylphides" and other works by Natasha Rogai in The South China Morning Post.

For this show, the difficulty was compounded by the accompaniment on solo piano of nine-year-old local prodigy Daniel Chan who, while immensely talented for his age, did not produce a sufficiently accurate performance in this context. All the more credit to the dancers for giving such a fine interpretation. Li Ming's speed and sparkling footwork, Wu Feifei's lyrical arms and Jin Yao's soaring jumps in the mazurka were all outstanding.

 

Equally focused on the music, yet in total contrast to Fokine's soft, romantic style is Shape of Glow, created for the company by Jorma Elo.

 



#4 dirac

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Posted 27 May 2014 - 05:53 AM

A review of Houston Ballet by Adam Castañeda for Houston Press.

 

Corps member Derek Dunn in particular is a commanding presence on stage, and the lines he generates from his mid-height frame are as precise as an instrument of measurement. He's one to watch, especially as he matures and develops the theatricality that mark the men of the higher ranks. Equally captivating was Nozomi Iijima, who danced with a force that belied her willowy structure.

 

 

 



#5 dirac

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Posted 27 May 2014 - 06:05 AM

Benjamin Millepied's forthcoming assumption of the artistic directorship of the Paris Opera Ballet is noted by Travel + Leisure.

 

The French-born Millepied, a former principal dancer at the New York City Ballet, comes to Paris via California—where he leads the L.A. Dance Project—and is sure to bring a jolt of energy to an institution that traces its beginnings to the court of Louis XIV.

 



#6 dirac

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Posted 28 May 2014 - 06:37 AM

A review of American Ballet Theatre by Mary Cargill in danceviewtimes.

Gomes' Solor was well worth fighting for.  The role is a perfect fit for Gomes, showing off his many strengths.  He is blessed with a handsome face and noble proportions, is a gracious and generous partner, and has the sympathetic imagination to make Solor a flawed but sympathetic hero with a weak will and a strong heart.  And he is no slouch in the technical department; his jumps may have been higher in years past but his control is phenomenal.

 

 

 



#7 dirac

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Posted 28 May 2014 - 06:40 AM

An interview with Meredith (Max) Hodges, Boston Ballet's new executive director, by Jeffrey Gantz in The Boston Globe.

Speaking by phone from London, Hodges recalled meeting Jack Meyer, chairman of Boston Ballet’s board of trustees, in 2010 when she was a student at Harvard Business School. “I just remember being very excited about the Ballet’s tremendous artistic success,” she said. “I knew that there were really smart people at the organization and at the board, and that was my first encounter with the company’s leadership.”

 

Boston Ballet artistic director Mikko Nissinen said the company talked to about 10 candidates. He’s not concerned about Hodges’s lack of a ballet background. “At the end of the day,” he said, “it’s a question of the individual, of finding the right person with the right DNA.”

 



#8 dirac

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Posted 28 May 2014 - 06:45 AM

The Royal Opera House breaks even at the end of the 2012-13 fiscal year.

 

The twin companies presented 18 new productions – of which 10 were new commissions – that were also seen by a global cinema audience of 346,000 in 40 countries. The Royal Ballet’s visit to Tokyo attracted an additional 24,500 theatregoers.

 

 



#9 dirac

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Posted 28 May 2014 - 06:47 AM

The Royal Academy of Dance offers free classes to people over 60. Interview with Gillian Lynne.

I found them getting into the groove at a dance class for older people in west London with teacher Sarah Platt – a highly enjoyable class combining elements of ballet, tap, and musical theatre.

 

It’s one of a number of free classes put on by the Royal Academy of Dance as part of its Dance for Lifelong Wellbeing project.

 



#10 dirac

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Posted 28 May 2014 - 06:51 AM

Dancers from the Washington Ballet show off their toughest moves.

 

The Washington Ballet has attempted to unlock some of the secrets of ballet's hardest dance moves, in a video uploaded by The Washington Post. In it, dancers Maki Onuki, Andile Ndlovu, Chong Sun, Corey Landolt, Francesca Dugarte and Luis R. Torress demonstrate stunning lifts and miraculous turns, breaking down the body movements involved in a Cheshire Cat or a never-ending series of fouettés en tournant.

 

 



#11 dirac

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Posted 28 May 2014 - 06:52 AM

A review of Ballet Academy East by Marjorie Liebert for Broadway World.

La Source, choreography by George Balanchine and staged by Darla Hoover, was surprisingly well done by these young people. The lead ballerina role was performed by the lovely and sweet Ariella Friedman, who demonstrated confidence and emotional involvement in her dancing. I'd like to see her use more energy below the knees, but this did not detract from her nearly ready for prime time performance. She was partnered attentively by BAE alumnus Ariel Rose, now with the Miami City Ballet. Siobahn Howley was perky in the soloist role and the eight corps members were well rehearsed and enjoying themselves. The live music was played by Steven Mitchell on piano and Anton Smirnov on violin.

 

 



#12 dirac

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Posted 28 May 2014 - 06:56 AM

A review of New York City Ballet by Robert Greskovic in The Wall Street Journal.

Among the dancers, only the singular presence of golden and willowy Teresa Reichlen, as the one prominent dancer not paired with any other, indicated a potentially poetic and perhaps mysterious character. The duet moments of the other leading dancers were more conventional than memorable. But Ms. Reichlen was kept at the edge of Mr. Peck’s larger picture, which, for all its visual richness, was more a display of overspread patterning than something more substantive.

 

 



#13 dirac

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Posted 28 May 2014 - 06:59 AM

A preview of Pacific Northwest Ballet's closing performance of the season.

The Season Encore performance will pay tribute to retiring principal dancer Kaori Nakamura, departing corps de ballet members Andrew Bartee and Liora Neuville and retiring executive director D. David Brown.

 

Nakamura, who joined PNB as a soloist in 1997 and was promoted to principal in 1998, will join the PNB School faculty upon her retirement from performing,

 




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