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dirac

Friday, May 19

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A piece on the seriousness and unseriousness of ballet by Alastair Macaulay in The New York Times.

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But ballet abounds in self-contradictions. It continually shows mere mortals becoming works of ideal geometry, and helps us see music in terms of three-dimensional space. It can turn silliness into enchantment, make myth real, or — even in a work of pure dance — make us feel how the sublime coexists with the comic. With equal ease, alas, it can turn musical masterworks into dance cliché or literary classics into fatuous jollifications.

 

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Atlanta Ballet launches a second company.

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Atlanta Ballet Artistic Director Gennadi Nedvigin will announce the new ensemble Saturday evening, May 20, at the Atlanta Ballet Centre for Dance Education’s 20th anniversary gala celebration at the Cobb Energy Performing Arts Centre. Like the school’s current Fellowship training program, Atlanta Ballet 2 aims to prepare talented, top-level students, ages 17-21, for professional careers with Atlanta Ballet and elsewhere. It will also fill out the ranks of large-cast company productions.

 

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Washington Ballet announces its 2017-18 season.

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In shaping her second year at the helm, Kent says, she felt a responsibility “to create opportunities for other people.” To this end, for the company’s spring series (March 14-18 at Sidney Harman Hall), she has commissioned a trio of small-scale works from emerging choreographers who are still actively dancing: Marcelo Gomes, one of American Ballet Theatre’s most dynamic and experienced principals, who has created three pieces for ABT; Gemma Bond, an ABT corps de ballet member, originally from the Royal Ballet, who will present an evening of her work at New York’s Joyce Theater this July; and Clifton Brown, formerly of Alvin Ailey American Dance Theater and now with Jessica Lang Dance. 

 

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An interview with Thys Armstrong of Coastal City Ballet.

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In his quest to find Fred Astaire-like flair, Armstrong sought out one of the best ballet teachers for men in Vancouver, Coastal City Ballet artistic director Li Yaming.

 

“So he (Li) knows how to whip them into shape. And he’s really good at teaching boys who have had a late start to ballet,” explains Armstrong.

 

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A review of American Ballet Theatre in 'Don Quixote' by Mary Cargill for danceviewtimes.

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Lendorf, with his Danish training, understands character and his Basilio was a natural charmer with a plush jump, clear mime, and a generous presence. His Danish modesty, though, isn't explosive and smooth, elegant technique with its brilliant footwork seemed too refined for the Bolshoi bravura. It was like watching a Rolls Royce engine in a souped up convertible.

 

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An exhibition is created of Mark Ryden's drawings, sketches, and paintings for "Whipped Cream." Item in brief.

 

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..........In “Mark Ryden: The Art of Whipped Cream,” the artist explores “the darker undercurrents of sweetness,” the gallery says, “from its sugary excesses to the intoxicating effects of overindulgence.” Mr. Ryden, whose paintings have featured fairy-tale creatures, historical figures and pop culture icons, here turns his attention to cupcakes, candy jars and cocoa tins.

 

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A review of the Royal Ballet by Hanna Weibye for The Arts Desk.

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Symphonic Dances is not a masterpiece, but it's the best Scarlett I've seen since 2014's Hummingbird for San Francisco Ballet. It feels as if the young choreographer is letting loose and making dance in a way that interests him and this sense of heartfelt creativity carries the piece even through its weaker moments. Scarlett puts regal, angular Zenaida Yanowsky at the centre of the work and she shines like a diamond: hard as nails, finely faceted, and completely mesmerising.............

 

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A review of ABT by Marina Harss for DanceTabs.

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There are several débuts this week. On May 16, I caught Misty Copeland and Jeffrey Cirio, both new to the ballet. They’re not ideally matched; he’s too small for her, and they don’t have much chemistry, and yet they each gave a very good performance, in his or her own way. Copeland was impeccably prepared; every aspect of her dancing and presentation was polished, nothing left to chance. Her phrasing, perfectly timed to the music, was particularly impressive. In the first act, when Kitri bangs her fan on the floor repeatedly as she circle the stage with jumps, each smack was strong and right on the beat. No pretend smacks for her. Nor was anything exaggerated in her interpretation. Her Kitri was down to earth, self-assured, charming and funny, though not terribly impetuous. She seems to have finally overcome her fear of fouetté turns; she executed 25 in the coda of the famous pas de deux in the third act. What’s missing is a bit more brashness, which she could acquire, and a more explosive jump, which may be a more uphill battle.......

 

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A review of the Royal Ballet by Mark Monahan for The Daily Telegraph.

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For this feels, above all, an elaborate exercise in diva-worship, one whose second section calls to mind that famous 1985 video for Madonna’s Material Girl, as well as the even more famous passage that inspired it, Monroe’s rendering of Diamonds Are a Girl’s Best Friend. In the first part, Yanowksy is tentatively but – take a bow, James Hay – brilliantly danced for; in part two, she’s fawned over and ferried about by an adoring octet of boys. Not until the climax is she fully engaged with on equal terms, as if only now has she found a fellow worthy of her.

 

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