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Wednesday, June 6

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Work begins on Milwaukee Ballet's new facility.

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Milwaukee Ballet broke ground on its future two-story, 52,000 square foot facility yesterday afternoon. The building’s name, Baumgartner Center for Dance, was creatively revealed by Milwaukee Ballet dancers with honorary campaign co-chairs Donna and Donald Baumgartner. The Ballet also announced its capital campaign, which has almost reached $22 million of its total $26 million goal, for the new space and programming.

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The building will replace the Ballet’s training studio and offices at 504 W. National Ave. in Walker’s Point. It will include two large rehearsal halls for the ballet’s main dance company, multiple classrooms for children and adults, and five other rehearsal studios for children.

 

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A day in the life of Francesca Velicu.

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Rising star Velicu, who was born in Bucharest, is certainly one to keep your eye on. Earlier this year, she picked up an Olivier Award, named the winner of Outstanding Achievement in Dance for her performance in Pina Bausch’s Le Sacre du Printemps.

 

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A review of American Ballet Theatre in "Harlequinade" by Marina Harss for DanceTabs.

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Such exchanges aside, the real treasures lie in the style of the dancing: full-bodied, rounded, soft, pliant, expressive, buoyant. Legs kiss each other in the air in jumps, executed while turning, moving backward, or zig-zagging across the stage. The women hop on point, tracing half-circles to show the angle of the leg and foot. Their arms complete the movement, creating a full, multi-faceted composition, pretty from every side. But these full, detailed movements of the body also have the effect of calling attention to details in the musical phrasing. The eyes are alive. Beautiful, simple images emerge: two women holding each other by the hand (overhead), supporting each other in a balance, like figures in a fountain. A woman’s torso melting in the arms of her partner, like a garland hanging over a balustrade. The dancers’ bodies sing.

 

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A review of New York City Ballet by Mary Cargill for danceviewtimes.

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Lowery received a lot of applause during "Concerto Barocco", though her forthright and muscular dancing, while exciting, did not really mesh with Ashley Laracey's in her debut as the first violin. Laracey, a tall, fair dancer with a mysterious and slightly remote air, was well-matched by the towering Silas Farley, who was also making his debut.  His gracious, generous partnering made the pas de deux into a long, continuous thread which unspooled smoothly and effortlessly.  They had a courtly, formal air, as if they were dancing only for each other in some exalted place that the audience was privileged to visit for a short while.

 

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