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Tuesday, July 25

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Rebecca Krohn is retiring from dancing.

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Ms. Krohn’s final performance will be in George Balanchine’s “Stravinsky Violin Concerto.” A longtime member of the City Ballet family, Ms. Krohn joined the School of American Ballet in 1995, and became an apprentice with the company in 1998. She joined the corps one year later, and was promoted to the rank of soloist in 2006, followed by principal dancer in 2012.

 

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A review of the Joyce Theater's Ballet Festival by Brian Seibert in The New York Times.

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That’s all sufficiently rare to deserve admiration, so why wasn’t I thrilled? There wasn’t much emotion or invention in these works, yet the most crucial thing missing, or not yet developed, was the rarest and most important quality — call it voice or vision, the distinctive magic that compels you to see a dance again and hunger for whatever that choreographer makes next.

 

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Reviews of the Mariinsky Ballet.

 

The Guardian

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The Bolshoi go at this stuff with nostril-flaring vigour; the Mariinsky are historically more elegant, though I’m not sure tasteful is the point with Don Quixote. It’s like repainting the Love Island shacks with Farrow and Ball. The classiest elements here were Yekaterina Chebykina’s featherlight sprite and the delicious painted scenery (the designers went on to work for Diaghilev): a harbour scene in apricot and raspberry, an enchanted woodland with peach-coloured foliage.

 

The Independent

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The more classical the ballet gets, the more fun they have with it. In the final pas de deux, Kim and Tereshkina combine elegance with dazzle. His jump hangs in the air, giving him time to unfold slowly from one pose to the next, while his spins are both bold and smooth. Tereshkina flutters her fan with glittering wit, even while whizzing through multiple fouetté turns. There’s a lovely contrast between her beautifully shaped poses and the sparkling speed of her footwork.

The Daily Telegraph

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What’s more, the production – last seen at Covent Garden when the company visited in 2011 – is generally well judged, and charming. It takes its cue not from Petipa’s original 1869 Bolshoi staging, or his 1871 Mariinsky revival, but from Gorsky’s 1900 reworking (also for the St Petersburgers). The recreations of Golovin and Korovin’s original, mostly watercolour-ish sets are satisfyingly un-cartoonish and picture-postcard pretty, the stage fizzes with life, and the steps give the cast endless opportunities to show their mettle.

 

The Evening Standard

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Tereshkina is pretty much perfection as a ballerina, with sharp, crisp lines, exactly calibrated, and the most perfectly vertical axis in her pirouettes. She may be a bit too perfect for spirited Kitri, but in the dream scene her absolute serenity is breathtaking. Kim is known for his light and lofty leaps, but he brings a warm and likeable presence too, and manages the only bit of comedy that's actually funny.

 

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More reviews of the Mariinsky.

 

The Financial Times

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This is what ballet is about: heart-stirring clarity, the human frame ennobled, eloquent. (And our delight and applause must be as much for the dancers’ teachers as it is for the impeccable ensemble itself.) We watch something as true about St Petersburg as the statue of Peter the Great: movement born of bravest aspirations. It is a marvel in an age where vulgar display and addled posturings have become the balletic norm.

The Arts Desk

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This is really more a Bolshoi vehicle than a Mariinsky one, and Tereshkina's A-list composure isn't going to displace memories of the infamous, firecracker Osipova/Vasiliev Don Q in the 2010 Bolshoi tour, a watermark in many ballet fans' minds. But Tereshkina and her handsome, long-legged Basilio, Kimin Kim, do have plenty to show off about, not least their mastery of the ballet's many one-handed lifts: the value of all that discipline shows through in the implausibly smooth, long, and balanced moments Tereshkina spends eight feet above the stage, connected to the ground only through the upraised palm of Kim's hand. Kim is a treat in his own right, full of youthful joie de vivre

 

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Tiler Peck creates a program for BalletNow in Los Angeles.

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Peck chose the performers and the repertory, which includes works by George Balanchine and Jerome Robbins — the longtime mainstays of her home company. She also included recent works by two of today's most highly regarded and prolific ballet choreographers, Christopher Wheeldon and Justin Peck (no relation), whose work has been integral to her troupe’s repertory in recent years.

 

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