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Monday, July 3

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Veronika Part retires from American Ballet Theatre.

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On Sunday, fans created a petition on Change.org asking Kevin McKenzie, Ballet Theater’s artistic director, and Kara Medoff Barnett, its executive director, to keep Ms. Part in the company. “She is the one, nowadays, who is able to present the best of the Russian and American ballet dancing schools together,” the petition states.

 

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An interview with Rowena Jackson and Philip Chatfield.

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The couple were friends and fellow dancers for 11 years before they married in February, 1958, their wedding front-page news at the time.

 

“We were very good friends for years and years and years,” Mr Chatfield said.

 

“We didn’t dance together until we were married because Philip had to dance with the tallest ballerina, who was (Dame) Beryl Grey, who was matron of honour at our wedding,” Ms Jackson said.

 

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Sergei Polunin will perform in Slovaki for the first time this autumn.

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A rare opportunity to see his mastery first-hand comes with the Slovak premiere of the film Dancer, in which US director Steven Cantor captures the exceptional career of this man and explores the luck he had and the price he paid to become “the James Dean of the Ballet”, the SND wrote in a press release.

 

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Aurelie Dupont shares stories about her grandmother.

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Of course, her treasured maternal grandmother Simone Dupont came often to see her dance. As Dupont steps into the role of director, she has made clear that the new generation of dancers who drive Paris Opera Ballet’s international reputation will be front and centre in her vision.

 

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A review of the Birmingham Royal Ballet by Bruce Marriott for DanceTabs.

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Wright is known internationally for his Giselle and Nutcracker productions – often considered masterful benchmarks of lucid storytelling with lots of space to dance. Birmingham’s Nutcracker, the best in the land for my money, is by Wright, and the omens were good when he created their Coppelia 22 years ago, shortly before retiring as director. That it’s still going strong is a testament to a great production of a happy ballet, especially one that might not be so well known as the obvious canon, but that people have come to love and embrace.

 

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Nicolas Le Riche is the new director of the Royal Swedish Ballet.

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At 45, Le Riche, who brought a unique artistry to the Paris Opera Ballet for the duration of his career, succeeds Johannes Öhman, who will direct the Staatsballett Berlin. Like his predecessor, Le Riche sees no difference between classical ballet and contemporary dance: “both are facets of the same Art,” he says.

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Peter Boal writes on "Jewels" for Dance Magazine.

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He also placed Farrell at the center of this modern-day nod to tradition. Farrell was by no means a traditional ballerina. She was unleashed and unpredictable in every movement, wild and spontaneous with clever phrasing and a willingness to let her long legs fly. With Farrell at the epicenter of this conventional ballet, Balanchine gave tradition a fresh coat of paint, a recast and a makeover. Jewels springs from tradition, building on it, bursting from it and putting another exquisite link in the evolutionary chain of classical ballet.

 

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A review of New York City Ballet Moves by Gay Morris for danceviewtimes.

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Fairchild and Finlay make a handsome couple, he tall and blond, she small and dark, not too different from Peter Martins and Kay Mazzo, the couple on whom the ballet was set. Fairchild and Finlay don’t often dance together, and they are well matched in ”Duo Concertant.” He is usually an ebullient performer, but here he became all elegance and warmth. Fairchild has always been a technical virtuoso, who in the past was often puzzlingly self-effacing. Now she has come into her own and looks gorgeous, taking gracious command of the stage as a true ballerina.

 

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