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Saturday, July 29

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An interview with Leanne Cope.

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Leanne’s own story would make a script to rival Billy Elliot. She is the daughter of a hairdresser and a builder’s labourer from Bath who had never even seen a ballet when she was selected to audition – and won a place – at White Lodge, the Royal Ballet School. Aged nine, she came first in the Southwest of England heat in a dancing competition and was photographed holding her trophy alongside Paul, who had won the boys’ heat. They both went on to train at White Lodge, and were later accepted into the Royal Ballet.

 

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A review of the Mariinsky Ballet in "Swan Lake" by Debra Craine in The Times.

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When the Mariinsky Ballet comes to town, you know Swan Lakecan’t be far behind. So here it is again, the second programme in the company’s three-week London season and the one the box office relies on most to make this trip a success.

 

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A review of "Jewels" at Lincoln Center by Robert Gottlieb in The Observer.

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Not so the Bolshoi corps in their “Diamonds,” which came brilliantly alive. This “Diamonds” really glittered. Yet everything in this performance paled in comparison to the ravishing splendor of 18-year-old Alena Kovaleva in the lead role. It was her debut—for all I know, the first time she’s had such a major opportunity in anything. She’s tall, dark, willowy, beautiful. And she’s technically impressive, but you hardly notice because she’s so winning, so gently secure, so obviously happy to be dancing. If she was nervous, it didn’t show. If she was daunted, you’d never know it. She wasn’t Farrell, she wasn’t Odette, she was a magical new creature. The audience had never heard of her, but from her first moment, there was a collective holding of breath, and at the end, a wild, heartfelt ovation; really, a burst of love. Gimmick had been transformed into glory.

 

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A Russian troupe brings a Nureyev tribute program to South Africa.

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The dancers are from the Bashkir State Opera and Ballet Theatre and the company choreographer is Lyudmila Vasilevna Shapkina.

 

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Ballet's image is too elitist, says Sergei Polunin.

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Dance was a language that everybody understood, he said: “It opens up people’s minds. Unfortunately, in our society, nobody wants people to think. So that’s why it’s kept too elitist, but my goal is to open it for everybody.” The Royal Ballet had “started slowly to open up”, Polunin said: “They have such a great name, they can expand like crazy. They can be the biggest thing in the world. They decide to keep it to themselves, to the small world of those people.”

 

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A review of Misty Copeland's "Giselle" with the La Scala company by Paul Hodgins in The Orange County Register.

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In Copeland’s performance on Friday (her only appearance during the company’s Orange County run), she opted for the latter approach. Her Giselle may have lacked girlish virtuosity, and in the second act her solos were delivered with a sense of caution – understandable, but not a desirable quality for the part.

 

Still, Copeland has worked hard on her acting chops over the last decade, and that investment has paid off..........

 

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