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Saturday, February 8


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A review of Pennsylvania Ballet by Ellen Dunkel in The Philadephia Inquirer.

"Serenade" looked as fresh as ever, with a large cast in puffs of blue tulle forming geometric patterns to Tchaikovsky's Serenade for Strings in C (Op. 48). Audience members cried out at the announcement that Amy Aldridge wouldn't be dancing in this ballet as originally planned, but a confident Brooke Moore soon made them forget their disappointment.

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Ivan Vasiliev is interviewed by Jane Gordon in The Daily Mail.

At least, I point out, they will be together when Ivan is in London performing as the youngest member of the critically acclaimed Kings of the Dance (more of which later) in March. Surely, I trill, it will be good to be dancing in the same city? ‘No! It’s not good question,’ he says.

It falls to Sergei to explain that the couple – who were first teamed when Ivan joined the Bolshoi aged just 17 and would go on to become international stars of the company before famously defecting to the smaller rival Mikhailovsky company in St Petersburg in 2011, and subsequently, a year later, joining the American Theatre Ballet – are no longer romantically involved.

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A review of the Royal Ballet by Laura Thompson in The Telegraph.

It is to Wayne McGregor's credit that Tetractys holds up as well as it does between these two little masterpieces. He is helped, of course, by having dancers like Marianela Núñez, Edward Watson and Federico Bonelli as clay to shape. Even in that company Natalia Osipova draws the eye, incidentally; she has the most extraordinary ballet body since Sylvie Guillem and a sublime star quality. To see her droll contortions is enough, really. But one feels the need for more. McGregor, with his intellectual rigour and complexity, should be a perfect match for Bach, whose Art of Fugue is arranged here by Michael Berkeley, and for the artist Tauba Auerbach, whose geometrical visuals provide a sparse, shifting, illuminated backdrop in the gloom. Yet the spark created by their meeting is surprisingly faint. This feels like choreography reaching its logical limits.

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A review of BalletMet Columbus' "Alice in Wonderland" by Peter Tonguette in The Columbus Dispatch.

More often, these vocals explain what should be obvious through the dancing and staging. There is no need to announce the presence of the Cheshire Cat (“Dear me, it’s a cat!”) when we see its glowering eyes. The script by Steven C. Anderson undercuts the majesty of Edward Elgar’s music.

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Lamar Alsop has died at age 85.

The critics noticed: in a 1977 Times review of Balanchine’s Ravel ballet “Tzigane,” for example, the dance critic Anna Kisselgoff wrote that Mr. Alsop “played the first violin solo from the pit beautifully.”

He retired from the orchestra in 1993, after more than 30 years.

An interview with Alsop's daughter, the conductor Marin Alsop.

"My mother was diagnosed with terminal lung cancer in September," Alsop said. "I had brought my dad down here [to Baltimore] two years ago when he was diagnosed with a neurological condition related to Parkinson's disease. We knew it would eventually get him, but we still thought we would have more time."

A memorial concert is being planned for the spring in New York. "We'll put out a call to everybody we know and make an orchestra," Alsop said.

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Janet Groom-Campbell celebrates her fortieth anniversary as the costumier for Pittsburgh Ballet Theatre.

Her anniversary is an amazing feat, says artistic director Terrence Orr. She's been with PBT for all but four years of its existence and has had a hand in more than 500 tutus for 200 productions during her career. She also oversees the storage of approximately 2,000 costumes, plus shelving units filled with accessories.

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A review of New York City Ballet by Marianne Adams for danceviewtimes.

Mixing different styles, like flavors, can yield scintillating results, but you have to do it right. In pairing Robbins’s elegant “Dances at a Gathering” with Balanchine’s jolly “Union Jack” New York City Ballet accomplished just that. The expert performances of the two ballets contrasted, instead of clashed, and showcased the company’s artistic range. A little grace, a little fun, and NYCB’s got the perfect formula for a lot of happy viewers.
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