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Monday, May 28

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An interview in brief with Anatoliy Kazatskiy, the director of the Royal Russian Ballet.

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Fear is probably the last thing you would imagine on the minds of graceful ballet dancers. But take Anatoliy Kazatskiy for his word when he says that it is important to have a little fear before a performance. 

 

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A journalist writes about giving up ballet because of weight problems.

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Soon, I am training for two to four hours a day. Homeschooling means I can be driven to studios an hour from my home to take classes multiple times a week with more advanced teachers. Finally, I am living with other families or my dance teacher during the week so I can train at the best school in the region. Summers are spent at ballet “intensives”, which means six weeks away from home, living in dorms, taking classes all day at the Washington Ballet and the Royal Winnipeg Ballet. I am getting better and better. I revel in my ability to balance en pointe forever and turn with ease.............

But when you hear the word “ballerina”, my body is not what your mind’s eye conjures.

 

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The eighth Ballet Festival Korea gets underway this month.

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Following the first two performances are classic acts from Korea’s top ballet companies - the Korean National Ballet and Universal Ballet. The Korean National Ballet will perform “Anna Karenina” and Universal Ballet will perform “The Love of Chunhyang,” which merges the traditional Korean folk love story of Chunhyang with Tchaikovsky’s songs to create a dramatic ballet performance.
 

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A review of Queensland Ballet by Deborah Jones in The Australian.

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You win some and you lose some. Queensland Ballet is a co-­producer of Carlos Acosta’s ­Carmen with The Royal Ballet and Texas Ballet Theatre, which means QB’s name is attached to it forever. I doubt I’ve seen a worse ballet from reputable companies in more than 40 years.

On the other hand, Liam Scarlett’s Firebird, made for the Nor­wegian National Ballet, is a brilliant interpretation of Stravinsky’s glittering, gleaming, intoxicating score. 

 

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The Australian Ballet presents "The Merry Widow."

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Lana Jones as the wealthy Widow from the principality of Pontevedro, whose relationship with a certain Count Danilo is the focus of much of the action, gave a beautifully considered performance. Technically, her fluid body and limbs were beautifully attuned to the music. But it was her maturity as an artist that shone as she moved through a range of emotions and as she handled the intricacies and intrigues of the somewhat convoluted plot.

 

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