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Wednesday, July 5

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Georgette Tsinguirides retires from the Stuttgart Ballet.

 

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After a short career on stage Georgette Tsinguirides started out as John Cranko’s assistant. He sent her to London to master the Benesh notation method and she returned as Germany’s first choreologist, serving and teaching the ballet heritage.

 

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Amy Seiwert's new piece will be performed on both coasts.

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And Seiwert has garnered one of those, too: Her first full-length ballet was created for Imagery, her dance company, in a Joyce Theater Foundation Creative Residency, one of two residencies offered by New York’s premier presenter of dance, and the first offered to a company outside of New York City. The new ballet, titled Wandering and based on Schubert’s song cycle Die Winterreise (A winter’s journey), gets its first performance in San Francisco, however, on July 21-23, as part of Imagery’s seventh annual SKETCH series, at the Cowell Theater at Fort Mason.

 

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Julia Adam Dance presents a piece for the great outdoors, "Solis."

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“The theater started getting really dry for me. It was like, how do I create an experience not only for the viewer, but for the choreographer, for the dancer? I got really tired of this dry environment, trying to use light to create this special, magical place, trying to have the people feel connected,” says Adam, who is known for what she describes as a “whimsical, idiosyncratic and musical” style.

 

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A review of Bavarian State Ballet's "Young Choreographers" evening by Ilona Landgraf in her blog, "Landgraf on Dance."

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The pas de deux, Klein had contributed to Stuttgart’s “Noverre Evening” this April had been stunningly amusing and a hit with the audience. But “Mama, ich kann fliegen” (“Mama, I can fly”), his work for Munich, was not very creative, nor much of a soaring flight. The combination of electronic sounds (or rather noise), at first monotonous then hammering, credited to Georg Vorsamer, and movement largely unrelated to the music has become an overused practice among choreographers.

 

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A review of the Bolshoi Ballet in "Onegin" by Margaret Willis for DanceTabs.

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Nina Kaptsova performed the role in Onegin that evening and poured every emotion into the final spine-tingling moments of the ballet. In the 3rd act, many years after the first childhood scenes, Tatiana has become a gracious and loving wife to her caring, protective husband, Prince Gremin, nicely performed by Egor Kromushin. Dressed in a gorgeous red ballgown, their gentle duet of plunging arabesques and swirling turns showed her happiness and satisfaction with the aristocratic life she is now leading. Everything for her is serene and fulfilling. Then suddenly Onegin bursts into her life once more – the man she had loved as a young girl and who had so cruelly rejected her – and she is torn between duty and passion.

 

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