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US tour for fall 2004

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Here is the press release. I think this is great for the NBoC! Apollo and the Four Seasons are both strong ballets for the company. I think Kudelka could have chosen better ballets than the Firebird and there, below though.



IN FALL 2004

Toronto, Ontario…March 23, 2004…National Ballet of Canada Artistic Director JAMES KUDELKA today announced that the company will be touring to the United States in the fall of 2004. The company has been invited to perform as part of the Cal Performances series in Berkeley, California on October 1-3, 2004 and at The Detroit Opera House, in Detroit, Michigan on October 7-10, 2004.

The National Ballet of Canada will open the Cal Performances season with four performances of Kudelka’s masterpiece The Four Seasons, there, below and George Balanchine’s Apollo from October 1 to 3. Cal Performances is the performing arts presenter and producer of the University of California, Berkeley and presents internationally renowned dance companies such as The Kirov Ballet, American Ballet Theatre, Dance Theatre of Harlem, Mark Morris Dance and Suzanne Farrell Ballet. The National Ballet of Canada last performed in California in 1991 at The Orange County Performing Arts Centre.

The company will perform The Four Seasons and Kudelka’s The Firebird at The Detroit Opera House with four performances October 7 to 10. This is the company’s debut at The Detroit Opera House, which has a dance series featuring international and American companies.

"I am delighted to have the opportunity of touring this wonderful company to both Berkeley, California and Detroit," said Mr. Kudelka. "The depth of talent deserves to be seen and we are hopeful that this is just the beginning of taking the National Ballet artists to world stages."

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Yes, where are our San Franciscans? Did you go?

While waiting, here are some reviews.

Paul Parish in DanceView Times:

Canadian Ballet

“Summer” was sensational. It was our first sight of Greta Hotchkinson, a first-rate classical dancer, mistress of many effects and magnificently able to keep them up her sleeve. She was the only female dancer who moved with freedom and boldness—the rest of them, very well-schooled, beautifully disciplined, almost phenomenally neat, had a "decency" about them that reminded me of what Denby didn't like about the Royal Ballet. The women ALL have a remarkable gift for stillness, and can remain utterly motionless on pointe—for whole measures—as the music accumulates around them, so that when they do move again, it's something you've been waiting for and find very satisfying.

And Rachel Howard, in her blog:


Editing to add: This is really a quote from and link to her review in the Chronicle, and she hints at further posts, so keep watching.

Edited by Alexandra

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