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Mme. Hermine

Sunday, November 10

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Janice Berman on Jose Carreno's first weeks at Ballet San Jose:


Company class at Ballet San Jose was sweeping into those final moments when dancers are ready to fly. Women in pointe shoes taxied forward, leaping across the studio floor, then whirling through the 32-fouette passage from Tchaikovsky’s Swan Lake. The men followed, spinning in grandes pirouettes, one leg out to the side. José Manuel Carreño, the company’s new artistic director and no slouch at grandes pirouettes himself (you can see him on YouTube, of course), watched from a chair in front of the mirrored wall, rising to murmur in Spanish to a new man from Cuba who fell out of a turn.

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Allan Ulrich reviews the Diablo Ballet's 20th anniversary program:


Plucky Diablo Ballet launched its 20th anniversary season Saturday afternoon offsite at the Smith Center at Ohlone College in Fremont.

The dancers certainly did not need a shakedown before the troupe returns to its Walnut Creek home this week; they all looked solid, sometimes exceptional. But this was as good an occasion as any to discuss programming philosophy at a regional ballet company, which can't, by definition, be all things to all people, but still should labor to devise some kind of working aesthetic for itself. I don't see that at Diablo.

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Alastair Macaulay reviews Suzanne Farrell Ballet:


It’s impressive to find one muse paying tribute to another. The choreographer George Balanchine’s muses were his ballerinas. Many of his ballets were designed as vehicles for them. When new, they seemed principally to celebrate what was most splendidly singular about them. Paradoxically, though, these same works in due course became vehicles for many dissimilar ballerinas that followed.

A review of the company by George Jackson for danceviewtimes.

The dancers under Farrell’s direction demonstrate steps to bring out flavors, they phrase astutely to show savory movement textures. Personality is barely suggested in the dancing, relationships remain understated - even in “Duo Concertant”, in which a boy and a girl bond playfully at first. Then a change occurs. Gone is the casual mood, the companionable feeling. He becomes her worshipper and she is transfigured into the beloved one. However, In Friday’s performance an ultimate question remained. Up to the end, Michael Cook and Natalia Magnicaballi had related directly, spurred on by violinist Corey Cerovsek and pianist Glenn Sales. The two musicians, positioned near the dancers, grew ever more fully and passionately committed to their Stravinsky score. Did, though, the two dancers finally transcend themselves? Cook, in particular, seemed to be holding back.

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