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Monday, July 28


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#1 dirac

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Posted 28 July 2014 - 04:12 PM

An appraisal of the Bolshoi's New York engagement by Alastair Macaulay in The New York Times.

What on earth does the company’s artistic director, Sergei Filin, make of this artistic recession? It was moving to observe him in the aisles of the theater during the Bolshoi’s Lincoln Center Festival performances. Though the damage inflicted on his sight and skin in an acid attack early last year ought to make him a tragic figure, he looks purposeful, focused, businesslike. His elegant carriage, eloquent head movements behind dark glasses and intent animation in conversation with colleagues were far more fascinating than any drama we saw onstage.

 

 

 



#2 dirac

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Posted 28 July 2014 - 04:14 PM

Oregon Ballet Theatre hires a new executive director away from Milwaukee Ballet.

 

Buehler, 42, arrives as Oregon Ballet Theatre has stabilized its once-rocky financial position. The company says it closed the fiscal year in June with a budget surplus for the sixth consecutive year, thanks in part to a 28 percent increase in ticket sales over the previous year. Education programs reached 34,500 children last year, a 10 percent increase.

 

 



#3 dirac

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Posted 28 July 2014 - 04:15 PM

The Bolshoi offers a master class in Saratoga.

he Bolshoi Ballet presented a master class for students age 14 and older Monday night at the National Museum of Dance and Hall of Fame. The class was led by Alexander Vetrov, a former leading soloist with the ballet and a current ballet master. He was accompanied by Uliana Karmadonova on piano. 

 



#4 dirac

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Posted 28 July 2014 - 04:16 PM

Miami City Ballet takes on eight new dancers.

 

Artistic director Lourdes Lopez says she wants Miami City Ballet dancers to be able to dance to anything, and she believes the new dancers' experience and fresh perspective will enrich the company.

 

 



#5 dirac

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Posted 28 July 2014 - 04:32 PM

An interview with Tommy Rall.

He visited with the soft-spoken and unassuming Rall, 83, and his wife Karel (herself a dancer who performed with Rall in the American Ballet Theater) at their hilltop home in Pacific Palisades.

 

He told us that the famous “barn raising” number from Seven Brides for Seven Brothers was meticulously choreographed by Michael Kidd and incorporated the dancing strengths of the various brothers.

 



#6 dirac

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Posted 28 July 2014 - 04:33 PM

The memory of Fernando Alonso is honored in Havana.

 

One of the people there, Maiuly Sanchez, reminded that Fernando Alonso worked his entire life for art, and planted a seed to put the name of Cuba in the universal history.

 

Without Fernando, there would not be any Alicia Alonso, or that famous ballet school, now recognized in the whole world, because of its virtuosism and strength.

 

 



#7 dirac

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Posted 28 July 2014 - 04:35 PM

Peggy Baker teaches at the University of Alberta.

 

In Toronto she co-founded Dancemakers in 1974. Then she was off to New York City and across the continent dancing in Lars Lubovitch’s company in the 1980s, and with the likes of Mikhail Baryshnikov and Mark Morris with their White Oak Project in the early 1990s. In the past two decades she has carved out a distinguished solo career based with her Toronto-based Peggy Baker Dance Projects, taking up artistic residence with the National Ballet of Canada in 1994, heading their modern dance program to this day.

 

 



#8 dirac

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Posted 28 July 2014 - 04:36 PM

The Bolshoi Ballet arrives in Saratoga.

Forty set backdrops, more than 200 stage lights and a variety of other moving pieces have been set in place where the 120 dancers of the Bolshoi Ballet  will be joined by an 80-piece orchestra at the Saratoga Performing Arts Center Tuesday night. 


#9 dirac

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Posted 28 July 2014 - 04:38 PM

Backstage at the Mariinsky with Sarah Crompton. Video.

 

Earlier this year, as the Mariinsky was preparing for its London run, the Telegraph was given exclusive behind-the-scenes access at the company’s base in St Petersburg, during which we filmed it in class and rehearsal and talked to many of it biggest stars as they relaxed in between. Today, see our fascinating interview with principal ballerina Viktoria Tereshkina.

 

 



#10 dirac

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Posted 28 July 2014 - 04:40 PM

A review of Verb Ballets by Mark Satola in The Plain Dealer.

 

Verb reprised their electrifying dance "Dark Matter" from last year. Commissioned by Verb from Philadelphia choreographer Tommie-Waheed Evans, with a pounding score of industrial electronica by Philly composer Greg Smith, the work is a nonstop tour-de-force for nine dancers, who move with great athleticism and complexity in what could be described as a radical urban style, but always at the mercy of the music and Trad A. Burns' pulsating lighting effects.

 

 



#11 dirac

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Posted 28 July 2014 - 04:43 PM

A review of Dance Theatre of Harlem by Katricia Lang for Broadway World.

To hold the attention of a packed house (and lawn) at Miller Outdoor Theatre, you go big or the audience goes home. The DTH went big. They had impeccable extensions, thrilling variations, and gravity defying lifts.

 

The audience reacted accordingly. When one company member finished performing an impressive succession of pirouettes, the crowd cheered like it was Game 7 of the World Series. I, for one, was quietly jealous. My spotting is so shoddy that I've never been able to piroutte without getting dizzy. And, if I tried to pull off a succession of pirouettes, I'd break my ankles.

 

 

Q&A with DTH dance master Keith Saunders.

 

BWW: What is that legacy?

 

Keith Saunders: Mr. Garland in his program notes for Gloria speaks about the rich cultural history of Harlem that came out of the Harlem Renaissance, as well as the spiritual legacy like Adam Clayton Powell, Jr. and the pastor of the church Mr. Garland attends, the Reverend Calvin Butts. He wanted to point out that legacy and pay tribute to it.

 



#12 dirac

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Posted 28 July 2014 - 04:51 PM

A Voice of Russia interview with Laura Cappelle on the Mariinsky's visit to London.

Lopatkina is a bit of an ice queen herself, I venture. Is it Cappelle's thinking that she needs more range? “It's possible, yes, because she's known for her technical abilities and her ability to conquer pretty much any role,” explains Cappelle, “but she's been doing more lyrical roles – she's had her debut in Romeo and Juliet, and she's starting to move towards new roles, recently performing [Ashton's] Marguerite and Armand, which sadly she won't be doing in London.

 

 



#13 dirac

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Posted 31 July 2014 - 05:41 AM

A review of the Bolshoi Ballet by Marina Harss for DanceTabs.

 

For all this, it’s perfectly understandable why the company has continued to dance Spartacus over the years, especially on tour. Like Don Quixote, it’s a calling card; it says “we are the Bolshoi,” big, dynamic, explosive, unafraid of the grand gesture or accusations of poor taste. Sure, the act of bringing it to the Lincoln Center Festival is a sign of retrenchment, of a company – or perhaps even a country – in the midst of an identity crisis. In the absence of a compelling vision, the Bolshoi can always rely on Spartacus to whip the audience into a frenzy.

 

 

 



#14 dirac

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Posted 03 August 2014 - 10:51 PM

Several guest stars will perform in the Australian Ballet's "La Bayadere."

 

The ballet's Melbourne season will feature Spanish-born Elisa Badenes and Brazil's Daniel Camargo, both with the Stuttgart Ballet and each of whom has previously performed with the company as part of its 50th anniversary showcase. The Sydney run will feature the acclaimed prima ballerina Gillian Murphy of American Ballet Theatre.

 

 

 




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