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Wednesday, May 28


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#1 dirac

dirac

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Posted 28 May 2014 - 06:12 PM

A look at how classical and modern dancers approach the prospect of retirement by Melody Datz in The Stranger.

 

On June 8, Pacific Northwest Ballet will present its "Encore Performance," a selection of pieces highlighting the departure of three audience favorites, two of whom are leaving dance altogether: Kaori Nakamura and Liora Neuville. Nakamura, who has 17 seasons at PNB under her belt, will teach at the PNB school. Neuville will continue her studies in nursing. When asked why she would leave such an illustrious career in its infancy (Neuville is in the corps de ballet and might've risen through the ranks with her stunning lines and endearing, loving stage presence), she simply said: "I want to leave while I still love it, before my body is broken." Backed by college credits earned through PNB's Second Stage program, which offers the opportunity to take courses while dancing full time, Neuville is ready for an adventure on her own terms.

 

 



#2 dirac

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Posted 28 May 2014 - 06:13 PM

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

From the first strains of Bach in “Concerto Barocco,” and throughout, the corps of eight women attacked the steps with enlivening snap, pouncing on Bach’s and Balanchine’s rhythms and making the clean, contrapuntal patterns crackle. Sara Mearns, as one of the two lead women who personify the score’s two violins, was even more exact. Only her counterpart, Maria Kowroski, showed any hesitation.

 

 

 



#3 dirac

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Posted 28 May 2014 - 06:14 PM

A story on Boston Ballet's costumes for "Jewels" by Christopher Muther for The Boston Globe.

The task of creating these ensembles is so taxing that Boston Ballet rented “Emeralds” costumes from the National Ballet of Canada ; the Boston workshop created the principal dancer costumes for “Diamonds”; those for “Rubies” were made entirely by the Boston Ballet five years ago.

 

“The costumes themselves are not difficult, but there’s a lot of jewels. When we did ‘Rubies,’ the volunteers spent almost 1,200 hours just sewing the stones on the costumes,” said Charles Heightchew, manager of costumes and wardrobe for Boston Ballet. “We made costumes for seven men and 12 women. This ballet is a huge undertaking.

 



#4 dirac

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Posted 28 May 2014 - 06:16 PM

A preview of San Francisco Ballet School's student showcase.

As they say, the only way to get to Carnegie Hall, or in this case San Francisco's War Memorial Opera House, is practice. But for an aspiring young dancer, when they're ready to take that professional leap, not all roads lead here.

 

"Of course, it's the cherry on the cake if you get picked to join the company," said SF Ballet School Associate Director Patrick Armand. "I suppose most of the students who come to SF Ballet, they want to join the company. But, you know, there are a lot of other good companies in the world."

 



#5 dirac

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Posted 28 May 2014 - 06:18 PM

David Bintley is leaving the artistic directorship of the National Ballet of Japan.

Mr Bintley was in charge of the Japanese ballet company alongside his directorship of Birmingham Royal Ballet for four years.

 

He had previously held the post of artistic advisor with the company in 2008. His involvement with the Japanese company was noted in 2005 during the hugely successful production of his own Carmina burana in Tokyo.

 



#6 dirac

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Posted 28 May 2014 - 06:20 PM

An interview with Matthew Golding.

 

It’s not just Osipova’s energy that has wowed the young dancer, it’s the capital he has just made his part-time home. “London is the hardest-working place,” he tells me, opening his eyes wide for emphasis. “I think it’s just something in the air. It’s buzzing here, you know? You feel it in the morning on the Tube — that’s new for me. I’m used to living in Amsterdam, where I get on my bike and ride six canals over to work. Now I’m getting the rhythm [of London]. The English are really hard-working people, they’re completely driven.”

 

 



#7 dirac

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Posted 30 May 2014 - 10:52 AM

A review of New York City Ballet and American Ballet Theatre by Robert Gottlieb in The New York Observer.

At another performance, the very talented Isabella Boylston and Andrew Veyette, on loan from City Ballet, did a convincing if not spectacular job. Theme, however, Balanchine’s glorious tribute to the high classicism of the 19th century, is a ballet that calls for greatness.

 

His Duo Concertant, though, does not. Originally created for the Stravinsky Festival of 1972, it was an immediate success. The pianist and violinist are onstage, and the dancers listen to them respectfully and respond joyously. Both casts pulled it off: Misty Copeland, at last being offered large opportunities, full of zest and pliancy, opposite Eric Tamm, another underemployed talent; and the veteran Paloma Herrera, relaxed in her comfort zone, opposite the increasingly useful James Whiteside. Best of all was the violinist, Benjamin Bowman.

 



#8 dirac

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Posted 30 May 2014 - 11:05 AM

A review of American Ballet Theatre by Leigh Witchel in The New York Times danceviewtimes.

 

Lane gave a well-mannered performance. Despite her size, she’s an expansive dancer rather than a chirpy soubrette. She has a secure axis and accurate legs, still, she had her hands full. One bobble in a turn threw her into a more protective frame of mind and she fidgeted at the end of her turns, never quite seeming to stick a finish. “Theme” is within her capabilities, but it felt like watching Jenifer Ringer do it a few years back. It’s good for a dancer to tackle a killer role, but that doesn’t make it her part. “Theme” takes both technique and – to quote a friend – swagger. You won’t make it with only one.

 

 


Edited by dirac, 01 June 2014 - 05:11 PM.
Changed title of publication. Thanks to alert reader sandik for the correction!


#9 dirac

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Posted 01 June 2014 - 05:38 PM

A television feature story on Ballet Arizona's new program. Video.

 

Ib Andersen’s commitment to dance innovation and encouragement of emerging choreographers finds a home in Ballet Arizona’s new space.

 

 

 



#10 dirac

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Posted 03 June 2014 - 06:20 AM

A review of New York City Ballet by Kristen Dickerson for Broadway World.

As I arrived at Lincoln Center on Friday night, my phone alerted me of a flash flood warning in the area due to last all night. But, in true New York fashion, the gloomy weather didn't slow anyone down. The theater was packed and filled with anticipation to see the New York City Ballet perform Jewels, which is known as being the first story-less three-act ballet. And even though the audience was soaking wet, they were not disappointed. Jewels shone brightly and made the trip through the rain and lightning completely worthwhile for all in attendance.

 

 




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