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Thursday, August 7


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#1 dirac

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Posted 07 August 2014 - 11:14 AM

American Ballet Theatre is donating thousands of documents to the Library of Congress.

 

The materials, accumulated during Ballet Theater’s sometimes bumpy 74-year history, had mostly been stored in its costume warehouses but had also piled up in old file drawers or been donated by the boxful by relatives of alumni. There are scrapbooks of press clippings carefully cut and pasted by Lucia Chase, the founding director of Ballet Theater; programs from state dinners for the prime minister of Japan and the president of Ivory Coast; and diaries and tour itineraries that reflect the grueling nature of rehearsals and life on the road.

 

 

 



#2 dirac

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Posted 07 August 2014 - 11:16 AM

A new feature film, "Bolshoi," is in the works.

The greatest difficulty for the film, he said, is with casting because he has to find an adult actress for the lead role who is able to both act and dance to the highest level, as well as a child who will portray the film's heroine in her youth and who can also dance.

 

Todorovsky made the comments as he pitched for state funding at the federal fund that backs local cinema production. He hopes to get 100 million rubles ($2.8 million) from the state, close to a quarter of the film's total budget.

 



#3 dirac

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Posted 07 August 2014 - 11:17 AM

Nashville Ballet starts a fundraising drive for an expansion project.

 

Those funds will allow the Ballet to add three new studios and overhaul its modest Sylvan Heights space. The project was made possible when Climb Nashville moved to a larger building and vacated the space next door to the Martin Center for Nashville Ballet near the intersection of Redmon St and 37th Ave N.

 

 



#4 dirac

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Posted 07 August 2014 - 11:21 AM

The Joffrey School teaches class at a ballet studio in Savannah.

 

The classes were not the result of Hayes reaching out to the Joffrey School; in fact it was just the opposite.

 

“They usually pick about three studios per state each year to travel to and they chose us,” Hayes said.

 



#5 dirac

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Posted 07 August 2014 - 11:24 AM

A summary of the criticial reception of the Mariinsky's London season in The Week.

 

The "sublime magnificence of the Mariinsky corps de ballet" are at the heart of what ballet is all about, says Allen Robertson in The Times. These women are second to none and their exquisite clockwork precision is worthy of Faberge.

 

 



#6 dirac

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Posted 07 August 2014 - 11:33 AM

Reviews of Osipova and Vasiliev in "Solo for Two."

 

The Daily Telegraph

But it is unprecedented for two stellar ballet dancers to launch themselves into a programme of contemporary works while they are still in their twenties – and when those stars are famed for virtuosic flamboyance first exhibited with the Bolshoi and more recently with the Mikhailovsky, the shock of their choice is even greater. Yet Natalia Osipova (now with the Royal Ballet) and Ivan Vasiliev (now guesting around the world) make a compelling case for their versatility.

 

 

 

The Financial Times

 

This malign affair is devised to feature the grand gifts of these darlings of the public, and proves to be less a display of artistry than a martyrdom of their considerable powers. Here were dancers whose bravura and irresistible verve have blazed in Don Quixote , in Flames of Paris ; who have (and Osipova notably here) illuminated a western repertory with those Russian gifts of intense feeling, technical grandeur, and what seems an intuitive sympathy. And there they ill-advisedly were at the Coliseum, abusing their skills – at something less than full power – in a gimcrack assembly of unwise, crassly made, opportunistically shoddy dances, their energies used (vampire fashion) to feed the inane posturing of their choreography.

 

 

 

The Evening Standard

 

 

There’s something off about the tone. Too many moments where it’s hard to tell if it’s supposed to be funny or not. Sidi Larbi Cherkaoui’s Mercy starts with faux fighting and ends with Vasiliev as a sort of mystical puppet master (it’s supposed to be about compassion, but as far as I can see it’s about a woman being beaten up and manipulated). Ohad Naharin’s Passo flits between animalistic instinct, trotting, try-hard hilarity and arresting tenderness.



#7 dirac

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Posted 07 August 2014 - 11:35 AM

More reviews of "Solo for Two."

 

The Guardian

 

Pita here elicits an exuberant, intelligent comic energy from the two dancers – Osipova incandescently girlish and giddy; Vasiliev a self-absorbed wild child. But the climax of the evening belongs to Osipova alone when, having throttled her delinquent lover, she executes a fierce dance of triumph on his grave. It's the kind of satisfying revenge no classical ballet heroine is ever allowed, and Osipova makes it look like a world of fun.

 

The Arts Desk

 

Cherkaoui’s choreography retains ballet elements – Osipova is in pointe shoes – but for Osipova and Vasiliev the transitions between those and the contemporary movement language more alien to their bodies too obviously requires a certain effort. Occasionally we get a striking moment – as when Osipova uses her feet, as flexible and intelligent as hands, to stroke an abject Vasiliev – but overall there’s very little to like in this awkward, borderline-abusive duet, except the rather fine singing of German Baroque songs from the pit.

 

The Huffington Post

 

It wasn't all smooth sailing -- the choreography didn't always do the dancers justice, and the dancers appeared to struggle with some of the idioms of contemporary movement. Overall, though, Osipova and Vasiliev still wowed with their overwhelming star power, made all the richer by their clear hunger for artistic growth.



#8 dirac

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Posted 07 August 2014 - 11:38 AM

An interview with Osipova and Vasiliev.

 

 

 

While he remains based in Moscow, Osipova is now living in London where she joined the Royal Ballet last autumn. “So far I like it a lot,” she said through a translator.

She said one day people would understand why they had both left the famous Bolshoi — which has since faced troubles after an acid attack on its leader and claims of vicious rivalry.



#9 dirac

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Posted 08 August 2014 - 11:42 AM

New York City Ballet goes to the fashion world well again for the costumes at this year's fall gala.

 

 

The event, taking place on Sept. 23 at Lincoln Center, has paired up each choreographer with a designer: Peck will work with Katrantzou, Scarlett with Sarah Burton and Schumacher with Browne, while a pre-existing piece from Christopher Wheeldon will be re-costumed by Garavani and a work by Peter Martins will feature new costumes by Herrera.



#10 dirac

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Posted 08 August 2014 - 11:45 AM

A preview of the "experimental ballet" PENUMBRA.

 

 

Local ballerinas Marina Kec, Jenna Frome, Caitlin Dagle and Nicole Battestilli will dance a sensual interpretation of classical ballet to complement live music from three bands, Entertainment, Ecstatic Vision, and Canada, while being surrounded by an atmospheric installation created by Farida Amar, the founder and art director of Unraveled.

 



#11 dirac

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Posted 08 August 2014 - 02:09 PM

A review of the Bolshoi Ballet by Carol Pardo for danceviewtimes.

There may have been nothing more to be done with the characterization of Phrygia. But both men needed to flesh out their characters. Lantratov didn’t have the elevation or the ballon to make that signature jump expressive: the air didn’t bend to his will. Spartacus, as described in the program notes, is a romantic (and a lousy tactician). He leads an uprising to liberate the woman he loves but also lets his defeated nemesis go free, believing that humiliation is punishment enough. Shouldn’t Rodkin’s jump have reflected that, the sternum lifted as if delivering himself to the fates? Instead, his leaps looked almost Bournonvillean in their forthrightness. Even a little variety of texture would have helped, but none of these dancers has a sense of weight; it seems to have been bred out of them. And without weight there’s no sense of resistance either literally or narratively. Line and looks go only so far, particularly when you get so little help from your choreographer.

 



#12 dirac

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Posted 08 August 2014 - 02:11 PM

Pix of Osipova and Vasiliev in "Solo for Two."



#13 dirac

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Posted 08 August 2014 - 02:13 PM

A review of Pacific Northwest Ballet by Tresca Weinstein in The Albany Times Union's blog.

 

Founded in 1972, the troupe has been headed up since 2005 by former New York City Ballet principal Peter Boal, who has expanded and diversified its repertory. The four pieces on Tuesday’s program showed off four very different sides of the company, with the dancers’ boundless energy as the common thread.

 




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