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Mme. Hermine

Sunday January 19

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Judith Mackrell reviews Natalia Osipova as Giselle with the Royal Ballet:


Natalia Osipova has danced Giselle in London before, in exceptional performances with the Bolshoi and the Mikhailovsky. But, making her debut with the Royal, she is, yet again, a revelation. Through the quality of her dancing and dramatic imagination she manages to hold two conflicting forces in play, Giselle as a drama of the gothic supernatural and Giselle as a human love story.

A related review from The Arts Desk:


Natalia Osipova as Giselle draws the kind of awestruck, reverent reaction from ballet lovers that still breathes from contemporary descriptions of Marie Taglioni or Vaslav Nijinsky. Osipova’s elevation is already legendary, but her technique at high speed is an equal source of delight. Lovers of music can find the plodding tempi of modern ballet performances painful, but Osipova in the first act is like quicksilver: I don’t doubt she could do it all at concert speed and still look unhurried.

Mark Monahan reviews Giselle for The Telegraph:


Heroically partnered by Carlos Acosta as the duplicitous-then-remorseful Count Albrecht, Osipova in Act I floats on air and spins in reckless ecstasy, in an interpretation both technically and artistically supreme. From the start, her pretty peasant girl is a little too tightly coiled for comfort: should she really be quite so energised and overwhelmed by Albrecht, quite so clingy in their fleeting farewells? These character details generate a mesmerising tension and make perfect sense of Giselle’s pivotal “mad scene” – her collapse doesn’t come from a clear blue sky.

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Rebecca Ritzel reviews the Washington Ballet Studio Company for the Washington Post:


French art songs. What better inspiration for ballet than music that is gorgeous on the surface but lyrically devastating. For their fifth annual collaborative performance, the Washington Ballet’s Studio Company and the In Series presented a memorable evening of dance accompanied by the songs of Edith Piaf, Jacques Brel and even Pink Martini.

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Pittsburgh Ballet Theatre honors its wardrobe mistress after 40 years with the company:


Janet Campbell has been at the helm of the Pittsburgh Ballet Theatre's costume department for so long it seemed only natural to inquire when a behind-the-scenes book would be coming out. “I think there should be (one), at some point!” she mused. On Jan. 14, more than 125 guests came to Perle in Market Square for a masquerade fete to laud her 40 years as costumier. It also officially crowned her as the longest-running employee of the PBT.

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